The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the ‘Choreographic Hack Lab—a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to reflect and respond and rethink to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker.This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world.
{"title":"Shifting Perspectives: A cinematic dialogue about Synthetic Biology in a more-than-human world","authors":"Sarah Pini, Melissa D. Ramos, Jestin George","doi":"10.16995/bst.7976","DOIUrl":"https://doi.org/10.16995/bst.7976","url":null,"abstract":"The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the ‘Choreographic Hack Lab—a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to reflect and respond and rethink to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker.This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. ","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88686643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The proliferation of digital theatre signals a new era of theatrical experiences. The Royal Shakespeare Company's (RSC) Dream is a recent example of how theatre companies are integrating cutting-edge technology to revolutionise their performances. Emerging from the Audience of the Future (AF) program, Dream combined gaming and theatre technology to create a virtual world for audiences to inhabit and explore digitally. The production incorporated motion-capture technology and Virtual Reality (VR) headsets, allowing seven actors to perform live from a purpose-built studio while audiences simultaneously accessed their performance from a compatible device via a bespoke website (https://dream.online). The resulting experience combined live and virtual performance elements to connect global audiences.This venture into technologically enhanced theatre, however, raises questions about the potential implications of audience engagement with digital productions. In this paper, we question how RSC's Dream combined both live and virtual theatre experiences to offer a more interactive viewing experience. We argue that while Dream signalled an exciting step in the development of digital theatre, the interactive features revealed some discrepancies between RSC's goals and the degree of involvement delivered. We thus contend that for theatre organisations to incorporate digital technologies, they must tend to the nuances of technological interventions and weave them seamlessly with theatrical elements to retain the fidelity of the theatre experience.
{"title":"Virtual Dream Reality Check: A Case of Interactive Digital Theatre from the Royal Shakespeare Company","authors":"Gabrielle Lennox, Hannah Mason","doi":"10.16995/bst.7967","DOIUrl":"https://doi.org/10.16995/bst.7967","url":null,"abstract":"The proliferation of digital theatre signals a new era of theatrical experiences. The Royal Shakespeare Company's (RSC) Dream is a recent example of how theatre companies are integrating cutting-edge technology to revolutionise their performances. Emerging from the Audience of the Future (AF) program, Dream combined gaming and theatre technology to create a virtual world for audiences to inhabit and explore digitally. The production incorporated motion-capture technology and Virtual Reality (VR) headsets, allowing seven actors to perform live from a purpose-built studio while audiences simultaneously accessed their performance from a compatible device via a bespoke website (https://dream.online). The resulting experience combined live and virtual performance elements to connect global audiences.This venture into technologically enhanced theatre, however, raises questions about the potential implications of audience engagement with digital productions. In this paper, we question how RSC's Dream combined both live and virtual theatre experiences to offer a more interactive viewing experience. We argue that while Dream signalled an exciting step in the development of digital theatre, the interactive features revealed some discrepancies between RSC's goals and the degree of involvement delivered. We thus contend that for theatre organisations to incorporate digital technologies, they must tend to the nuances of technological interventions and weave them seamlessly with theatrical elements to retain the fidelity of the theatre experience.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"74 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86363153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As this is being submitted for the 'Perspectives' section, I believe it doesn't require an abstract, but if that is not the case I am happy to supply one.
由于这是提交给“观点”部分，我认为它不需要抽象，但如果不是这种情况，我很乐意提供一个。
{"title":"Teaching Writing for Performance Online: Dynamic Approaches to the Online Workshop","authors":"Karen Morash","doi":"10.16995/bst.8040","DOIUrl":"https://doi.org/10.16995/bst.8040","url":null,"abstract":"As this is being submitted for the 'Perspectives' section, I believe it doesn't require an abstract, but if that is not the case I am happy to supply one.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"13 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72603985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Link to performance: https://vimeo.com/640946914/cf858052e1AbstractThis performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.BiosPaul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. www.paulstapleton.net Adam Pultz Melbye is a double bass player, composer and audio programmer based in Berlin, currently undertaking a practice-led PhD at Sonic Arts Research Centre in Belfast. Adam has released three solo albums and appear on another 40+ releases. He has created sound installations, composed music for film, theatre and dance, and performed in Europe, the US, Japan and Australia, his work appearing at Murray Art Museum Albury (Australia), The Danish National Gallery and Wien Modern (Austria). www.adampultz.com John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest.
{"title":"The Virtual is Material: Music Improvisation in Post-Digital Ecologies","authors":"P. Stapleton, J. Bowers, Adam Pultz Melbye","doi":"10.16995/bst.8046","DOIUrl":"https://doi.org/10.16995/bst.8046","url":null,"abstract":"Link to performance: https://vimeo.com/640946914/cf858052e1AbstractThis performance-lecture was originally presented at the DRHA (Digital Research in the Humanities and Arts) conference in 2021 in Berlin. 3BP (Paul Stapleton, Adam Pultz Melbye and John Bowers) presents three views on the creation of an online performance ecology that allows the trio to improvise together, despite living in three separate locations. Rather than trying to overcome the instabilities and artefacts introduced by the fluctuations in data transfer, 3BP describe how such properties become native to the trios understanding of its own practice, affording new areas of creative exploration and consideration. The trio draws on Karen Barad’s use of terms such as diffraction and apparatus to discuss how music-making and improvisation embedded in run-away technologies affords emergent behaviour that transcends reflection to allow for diverse and unstable non-linear performances.BiosPaul Stapleton is an improviser and sound artist originally from Southern California. He designs and performs with a variety of modular metallic sound sculptures, custom made electronics and found objects in settings ranging from Echtzeitmusik venues in Berlin to the annual NIME conference. Paul is currently Professor of Music at SARC in Belfast, where he teaches and supervises research in new musical instrument design, music performance, sound design and critical improvisation studies. \u2028www.paulstapleton.net Adam Pultz Melbye is a double bass player, composer and audio programmer based in Berlin, currently undertaking a practice-led PhD at Sonic Arts Research Centre in Belfast. Adam has released three solo albums and appear on another 40+ releases. He has created sound installations, composed music for film, theatre and dance, and performed in Europe, the US, Japan and Australia, his work appearing at Murray Art Museum Albury (Australia), The Danish National Gallery and Wien Modern (Austria).\u2028www.adampultz.com John Bowers is an artist-researcher with an academic background in the social and computing sciences, design, music and critical theory. As an improvising musician, he works with modular synthesisers, home-brew electronics, reconstructions of antique image and sound-making devices, self-made software, field recordings, esoteric sensor systems, and spoken text. He often combines performance with walking and the investigation of selected sites to research an imagined discipline he calls ‘mythogeosonics’. He has performed at festivals including the Venice Biennale, Experimental Intermedia New York, Transmediale/CTM Vorspiel Berlin, Piksel Bergen, Electropixel Nantes, BEAM London, Aldeburgh Festival and Spill Ipswich, and toured with the Rambert Dance Company performing David Tudor’s music to Merce Cunningham’s Rainforest.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86224633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Intervention for Russell Anderson’s work-in-progress Interactive Zoom theatre performance conducted on 6th August 2021 at 1:00 pm (U.K time), for a PhD thesis at Oxford Brooke's University was called 'Helping Hands'. Exploration and involvement of socio-digital options in Zoom theatre performativity, invokes questioning the adaptive process, distress and success as well as whom are we helping by being involved? Are we helping the company hosting the Zoom application, digital-theatre experimenters, the characters in the play, real people with similar socio-political problems as depicted in the play, ourselves or Russell Anderson? My personal experience and observations, beginning from receiving the digital mail invitation and background information of the performance, until the discussion about the work, in the end will be narrated with critical observations on each character's role and background, audio-visual spectrum, additional software and applications used, spect-actorship and employment of the break-out room feature of the Zoom application. The referenced theatre genres and probable methodologies employed in structuring the performance will be discussed by referring to Sir Andersons personal notes on the matter. The emotions and doubts, particularly that of whom I was helping, during the performance will be addressed in terms of the nature of the interactive, hyperdrama’s structure and the overall effect that it influenced. Its outcome will be critically compared with observations made by other scholarly reviewers on other Zoom adaptive performances, namely, Karen by The Transit Ensemble, Newspaper Theatre workshop by Seattle Rep, The Belle’s Stratagem by Red Bull Theatre, Time Machine by Creation Theatre and A Midsummer Night’s Dream by CtrlAlt_Repeat, while addressing Interaction, communication, mediatization and liveness in digital theatre.
{"title":"A Review of Zoom interactive performance, 'Helping Hands': process, distress, success and who was helped.","authors":"Hazael Gomes","doi":"10.16995/bst.7970","DOIUrl":"https://doi.org/10.16995/bst.7970","url":null,"abstract":"Intervention for Russell Anderson’s work-in-progress Interactive Zoom theatre performance conducted on 6th August 2021 at 1:00 pm (U.K time), for a PhD thesis at Oxford Brooke's University was called 'Helping Hands'. Exploration and involvement of socio-digital options in Zoom theatre performativity, invokes questioning the adaptive process, distress and success as well as whom are we helping by being involved? Are we helping the company hosting the Zoom application, digital-theatre experimenters, the characters in the play, real people with similar socio-political problems as depicted in the play, ourselves or Russell Anderson? My personal experience and observations, beginning from receiving the digital mail invitation and background information of the performance, until the discussion about the work, in the end will be narrated with critical observations on each character's role and background, audio-visual spectrum, additional software and applications used, spect-actorship and employment of the break-out room feature of the Zoom application. The referenced theatre genres and probable methodologies employed in structuring the performance will be discussed by referring to Sir Andersons personal notes on the matter. The emotions and doubts, particularly that of whom I was helping, during the performance will be addressed in terms of the nature of the interactive, hyperdrama’s structure and the overall effect that it influenced. Its outcome will be critically compared with observations made by other scholarly reviewers on other Zoom adaptive performances, namely, Karen by The Transit Ensemble, Newspaper Theatre workshop by Seattle Rep, The Belle’s Stratagem by Red Bull Theatre, Time Machine by Creation Theatre and A Midsummer Night’s Dream by CtrlAlt_Repeat, while addressing Interaction, communication, mediatization and liveness in digital theatre.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87826807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thread/Warp was an online durational performance that investigated into the idea of stamina amidst our performance-obsessed, techno-contemporary world. Performed live on July 14 in a span of 12 hours via Zoom (and occasionally streamed via Facebook Live), Thread/Warp featured two performers in separate screen windows as they navigated the spectacle and exploitation of their bodies in two intersecting spaces: 1) the confines and confidentiality of their private domestic space(s); and 2) the expansive and exposing nature of the public space via their relationship with the video cameras. Thread/Warp sought to explore what it meant to sustain energy, tenacity, resilience, and patience—especially in a climate wherein we are relentlessly expected to perform beyond what’s necessary; to tirelessly create infinite yet exhausted spectacles of both our physical and virtual bodies; and to constantly amplify our human stamina in order to brutally compete with the stamina of technology itself. To put the concept into methodical exploration, this project utilized the concept of space as a crucial stimulus in conditioning one’s body to perform beyond what’s necessary. Specifically, the project took into account two spaces that had radically shaped our relationship with stamina —the private and the public—no longer as two distinct and separate entities, but rather as spheres that constantly intersect, overlap, blur, and at times even trade with one another. Firstly was the method on the private space, in which Thread/Warp examined the shifting conditions of the private domestic space—from a supposed place of rest and rejuvenation to a place of perpetual labor and recycled productions—and how these unprecedented changes either deflate or escalate our stamina. Secondly was the method on public space, in which the project investigated how public exposure (via Zoom and Facebook Live) radically maneuvered our sense of stamina, and how this further warped and manipulated our relationship with rest, recuperation, production, performance, labor, and ultimately, individual purpose and meaning. By considering the interjections of the private and public space, the project explored how this further affected tremendous change in the dynamic, potency, and frailty in the performer’s body.
{"title":"Thread/Warp","authors":"J. L. Cruz, Blonski Campos Cruz","doi":"10.16995/bst.7969","DOIUrl":"https://doi.org/10.16995/bst.7969","url":null,"abstract":"Thread/Warp was an online durational performance that investigated into the idea of stamina amidst our performance-obsessed, techno-contemporary world. Performed live on July 14 in a span of 12 hours via Zoom (and occasionally streamed via Facebook Live), Thread/Warp featured two performers in separate screen windows as they navigated the spectacle and exploitation of their bodies in two intersecting spaces: 1) the confines and confidentiality of their private domestic space(s); and 2) the expansive and exposing nature of the public space via their relationship with the video cameras. Thread/Warp sought to explore what it meant to sustain energy, tenacity, resilience, and patience—especially in a climate wherein we are relentlessly expected to perform beyond what’s necessary; to tirelessly create infinite yet exhausted spectacles of both our physical and virtual bodies; and to constantly amplify our human stamina in order to brutally compete with the stamina of technology itself. To put the concept into methodical exploration, this project utilized the concept of space as a crucial stimulus in conditioning one’s body to perform beyond what’s necessary. Specifically, the project took into account two spaces that had radically shaped our relationship with stamina —the private and the public—no longer as two distinct and separate entities, but rather as spheres that constantly intersect, overlap, blur, and at times even trade with one another. Firstly was the method on the private space, in which Thread/Warp examined the shifting conditions of the private domestic space—from a supposed place of rest and rejuvenation to a place of perpetual labor and recycled productions—and how these unprecedented changes either deflate or escalate our stamina. Secondly was the method on public space, in which the project investigated how public exposure (via Zoom and Facebook Live) radically maneuvered our sense of stamina, and how this further warped and manipulated our relationship with rest, recuperation, production, performance, labor, and ultimately, individual purpose and meaning. By considering the interjections of the private and public space, the project explored how this further affected tremendous change in the dynamic, potency, and frailty in the performer’s body. ","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81918577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This perspective analyses and reflects upon the experience of conceiving, curating and participating in Bodies:On:Live Magdalena:On:Live, the first online multi-platform Magdalena Festival, bringing together digitally competent artists with creative roots in the immateriality of the internet, in dialogue about current shifts in performance making with performers, writers, and directors declaring their uneasiness towards online adaptations of live work. As part of the global reaction to the standstill brought about by the Covid pandemic, we argue that shifts in practice for women in contemporary theatre associated with the Magdalena network – whether as an attempt for immediate artistic survival or a conscious experimental choice – were not exclusively determined by the available sharing of technical knowledge, or by the need to increase awareness of the digital medium in order to gain experience of different working modalities, but served a participatory and social purpose. These conditions were surfacing due to the digital space manifesting as a specific format of gathering through the Zoom windows and other platforms, which framed the encounters within a democratic performance arena, making the boundaries between participation and spectatorship porous. Therefore, the shift provoked by the festival not only pertains to the aesthetic sphere, but it is dynamically and organically geared towards the recognition of new working contexts arising from the unsettling experience of ‘disembodiment’ – as an ontological paradox of the original in-person Magdalena festival - and the embedded argument of the creative use of new technologies for a more sustainable and accessible future of performance making, both live and digital.
{"title":"A Shift Towards Digital and Participatory Performance Practice Post-Pandemic","authors":"Bianca Mastrominico, Elizabeth de Roza","doi":"10.16995/bst.8047","DOIUrl":"https://doi.org/10.16995/bst.8047","url":null,"abstract":"This perspective analyses and reflects upon the experience of conceiving, curating and participating in Bodies:On:Live Magdalena:On:Live, the first online multi-platform Magdalena Festival, bringing together digitally competent artists with creative roots in the immateriality of the internet, in dialogue about current shifts in performance making with performers, writers, and directors declaring their uneasiness towards online adaptations of live work. As part of the global reaction to the standstill brought about by the Covid pandemic, we argue that shifts in practice for women in contemporary theatre associated with the Magdalena network – whether as an attempt for immediate artistic survival or a conscious experimental choice – were not exclusively determined by the available sharing of technical knowledge, or by the need to increase awareness of the digital medium in order to gain experience of different working modalities, but served a participatory and social purpose. These conditions were surfacing due to the digital space manifesting as a specific format of gathering through the Zoom windows and other platforms, which framed the encounters within a democratic performance arena, making the boundaries between participation and spectatorship porous. Therefore, the shift provoked by the festival not only pertains to the aesthetic sphere, but it is dynamically and organically geared towards the recognition of new working contexts arising from the unsettling experience of ‘disembodiment’ – as an ontological paradox of the original in-person Magdalena festival - and the embedded argument of the creative use of new technologies for a more sustainable and accessible future of performance making, both live and digital. ","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81145479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘As uncanny as a body’ is a video work which documents the constant transition of a dancing body from an abled human state into a glitched, injured, nonhuman one. Based on the development and use of a GAN model, the visual data of a dancer are processed, and figures that manifest this in-between state are produced. What happens when AI is not used in order to optimise the performance of the dancer but rather to generate body types and movements lying beyond fixed standards and classifications? How does a poorly trained AI model affect our perception of the body and the body itself? Does it remain human in all its smudges, cracks and distortions?Dance, as a practice that entails the act of change, offers the ground to study a body's possible becomings while undergoing the application of machine learning. 'As uncanny as a body' speculates upon AI-induced injuries in order to discuss trauma, to connect familiarity to uncanniness, and to raise questions about the witnessing and acknowledgment of our gaze.
{"title":"As Uncanny As a Body","authors":"Irini Kalaitzidi","doi":"10.16995/bst.7977","DOIUrl":"https://doi.org/10.16995/bst.7977","url":null,"abstract":"‘As uncanny as a body’ is a video work which documents the constant transition of a dancing body from an abled human state into a glitched, injured, nonhuman one. Based on the development and use of a GAN model, the visual data of a dancer are processed, and figures that manifest this in-between state are produced. What happens when AI is not used in order to optimise the performance of the dancer but rather to generate body types and movements lying beyond fixed standards and classifications? How does a poorly trained AI model affect our perception of the body and the body itself? Does it remain human in all its smudges, cracks and distortions?Dance, as a practice that entails the act of change, offers the ground to study a body's possible becomings while undergoing the application of machine learning. 'As uncanny as a body' speculates upon AI-induced injuries in order to discuss trauma, to connect familiarity to uncanniness, and to raise questions about the witnessing and acknowledgment of our gaze.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79942780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents findings from first-person accounts of shifting choreographic practice into mixed-reality environments. Dancing in/Dancing with the Digital, a transdisciplinary practice-based project exploring embodiment and movement in XR. In the research and design phases of the project, all authors kept reflective practice journals, which form the data for this auto-ethnographic and phenomenologically-driven reflexive practice analysis. We further support these perspectives by user-testing with professional dancers and the engineering students who developed the XR configurations. Through a kaleidoscope of perspectives, including dance, psychology, somatic practices, digital technologies, and design approaches, we explore embodied awareness and practice in existing and novel XR design. Themes discussed include elements of disorientation in digital environments and touch as a grounding point, the prospect of multimodal creative stimuli, complications of representation in digital spaces, and the digital-as-site for choreography.
本文介绍了将舞蹈实践转移到混合现实环境中的第一人称描述的发现。dance in/Dancing with the Digital，一个跨学科的基于实践的项目，探索XR的体现和运动。在项目的研究和设计阶段，所有作者都保留了反思性实践期刊，这些期刊为这种自民族志和现象学驱动的反思性实践分析提供了数据。我们通过与专业舞者和开发XR配置的工程专业学生进行用户测试来进一步支持这些观点。通过万花筒般的视角，包括舞蹈、心理学、躯体实践、数字技术和设计方法，我们探索了现有和新的XR设计中的体现意识和实践。讨论的主题包括数字环境中迷失方向的元素，触摸作为接地点，多模式创意刺激的前景，数字空间中表现的复杂性，以及数字作为舞蹈设计的现场。
{"title":"Choreographic Encounters in XR: Reflections on Dancing in/Dancing with the Digital","authors":"Rebecca Weber, J. Cook","doi":"10.16995/bst.7980","DOIUrl":"https://doi.org/10.16995/bst.7980","url":null,"abstract":"This article presents findings from first-person accounts of shifting choreographic practice into mixed-reality environments. Dancing in/Dancing with the Digital, a transdisciplinary practice-based project exploring embodiment and movement in XR. In the research and design phases of the project, all authors kept reflective practice journals, which form the data for this auto-ethnographic and phenomenologically-driven reflexive practice analysis. We further support these perspectives by user-testing with professional dancers and the engineering students who developed the XR configurations. Through a kaleidoscope of perspectives, including dance, psychology, somatic practices, digital technologies, and design approaches, we explore embodied awareness and practice in existing and novel XR design. Themes discussed include elements of disorientation in digital environments and touch as a grounding point, the prospect of multimodal creative stimuli, complications of representation in digital spaces, and the digital-as-site for choreography.","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91090798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Architecturein the last century has been along a rollercoaster journey of reputation andpublic esteem. And like most such journeys, it had its start in the centurybefore. By the 1870’s many European architects felt their disciplinary spacewas subject to two incursions: firstly, as the German theorist Gottfried Semperput it, they had become mere specialists in ‘dressing’, covering with ornamentstructures exclusively designed by engineers; secondly, there was an increasingsense that such a vocabulary of ornament had, disappointingly, become mere historicalpastiche, and the past century of unprecedented technological progress had yetto produce its own style.
{"title":"Venice Architecture Biennale 2021: The Mystery of the Disappearing Buildings","authors":"N. Harvey","doi":"10.16995/bst.7973","DOIUrl":"https://doi.org/10.16995/bst.7973","url":null,"abstract":"Architecturein the last century has been along a rollercoaster journey of reputation andpublic esteem. And like most such journeys, it had its start in the centurybefore. By the 1870’s many European architects felt their disciplinary spacewas subject to two incursions: firstly, as the German theorist Gottfried Semperput it, they had become mere specialists in ‘dressing’, covering with ornamentstructures exclusively designed by engineers; secondly, there was an increasingsense that such a vocabulary of ornament had, disappointingly, become mere historicalpastiche, and the past century of unprecedented technological progress had yetto produce its own style. ","PeriodicalId":37044,"journal":{"name":"Body, Space and Technology","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88551141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：