[dance-tech] Re: Ikeda/Supersymmetry, science and art participations

  • From: Johannes Birringer <Johannes.Birringer@xxxxxxxxxxxx>
  • To: "dance-tech@xxxxxxxxxxxxx" <dance-tech@xxxxxxxxxxxxx>
  • Date: Sun, 26 Apr 2015 17:35:20 +0000

thanks Nick and Michèle
for alerting us to both the work, and some of the context of art-science
residencies of collaborations (CERN related, but also we know that there are
numerous other ventures out there that link choreography and science and so on,
and Nick, you yourself were quite heavily involved in the exhibition

"Thinking with the body: Mind and movement in the work of Wayne McGregor |
Random Dance"

(Thursday 19 September 2013 - Sunday 27 October 2013) Wellcome Collection

If we were slightly to shift focus from the "participatory politics" we have
debated, to the issue of science-art-tech participations (as Nick suggests),
then yes, why not spend a bit more time here raising questions and also looking
at more than one example, as Michèle already pointed to another one, in fashion
and etextiles, that may have shown really interesting promise.

(And I can say the same for the work of visual artist Janet Wilton and her very
beautiful & haunting work on breath as well as her collaborations with
physicist Akram Khan, a professor at Brunel Univ. who is on the CERN team of
particle physics researchers). Particle physics as a visual aesthetic also
guided the interface patches that Christopher Bishop, an Australian visitor to
the DAP-Lab, wrote for our "metakimiosphere" installations three weeks ago.

I tend to think, after reading the blog you pointed us tom Nick, that the blog
writer is biased and polemical, and I would not be surprised to discover that
Ryoji Ikeda's installation is as powerful or disturbing as some of his other
work, and "Supersymmetry", I find out, was actually first produced at YCAM in
Japan, and has received very positive reviews there. (
http://supersymmetry.ycam.jp/en/ )
And is now announced coming to the UK

As to how to present such work or how to present research, that may involve
other pertinent questions, and I pondered some when encountering "Thinking with
the body" -- perhaps one can revisit?
I had been alerted to that project, which went on for a few years, by Scott
deLahunta, whom many of you will know –– he had been the research director on
the Choreography/Cognition projects and the more recent collaborations Wayne
McGregor/Random Dance have undertaken; this research involved notions of
"becoming" (dancers are rehearsing with 3D glasses, and are able to glimpse &
respond to choreographic creatures or 'objects' (programmed by Marc Downie and
Nick Rothwell, in collaboration with social anthropologist James Leach), and
another one is titled "concept tracking."


I made notes during the viewing but cannot find them; the challenge there was
obviously how to "exhibit" or create a visual display of "research" (not the
dance of Random as such, or the rehearsal process, clips of which we see);
about how dance/dance research as embodied practice can be "translated" into an
other "format" or rendition not embodied (wall diagrams, video, text, diagrams
etc). And sometimes I felt not fully satisfied or frustrated, but at the same
time, to see such dance/performance &cognitive/science research given such a
prominent, visible platform in central London at the Wellcome Trust Foundation
is a wonderful & exciting achievement..

But questions about "curating" research remain for me, would you perhaps have a
comment, Nick, or Michèle?
or others here who deal with temporal-phyisical-digital processes? Michèle
you have shown your design both in performance and in visual exhibits (and in
the radio!),
how did the context-changes affect your presentation of performance-wearables
and audience reception?

with regards

Johannes Birringer

[Michele Danjoux schreibt]

I guess these artist residencies at CERN are dance-related as choreographers
such as Gilles Jobin have also taken part in CERN's international arts
programme: http://arts.web.cern.ch/gilles-jobin

I actually met the person who created and directed this programme
(http://arts.web.cern.ch), Ariane Koek very recently when I was visiting HEAD
in Geneva. The programme has 3 strands: Collide @ CERN artists residencies,
Accelerate @ CERN artists residencies, and visiting artists. Ariane was
actually presenting on award winning fashion designer Iris Van Herpen's
collection Magnetic Motion produced as a result of her time spent at CERN. Her
collection was visually quite stunning and the review in Vogue by Suzy Menkes
the collection presented at Paris Fashion Week stated:

"Magnetic Motion is the title that this designer, steeped in scientific
knowledge, called her collection."

You can find the pdf of this article on the CERN website if you're interested:

It seems that Van Herpen explored the interplay of magnetic forces to influence
her textile development but I'm not sure that this went beyond stimulus for the
visual aesthetics.

On Fri, Apr 24, 2015 at 11:03 AM, Nick Rothwell
<nick@xxxxxxxxxxx<mailto:nick@xxxxxxxxxxx>> wrote:
Not really dance-related, but there’s a bit of a dust-up kicking off over this:


The science/art/tech. debate is pertinent here, I think.

— N.

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