[dance-tech] repertory worlds and remixing

  • From: "Johannes Birringer" <Johannes.Birringer@xxxxxxxxxxxx>
  • To: <dance-tech@xxxxxxxxxxxxx>
  • Date: Wed, 6 Feb 2008 18:41:45 -0000

hi all:

just a footnote to our conversations on repertory.  

I was interested in raising the question of repertory not only in regard to 
how/whether new works from the digital performance movement over the last 
decade(s) can be passed on  and be seen again and reviewed -- i was wondering 
why so few in fact have been recreated, and whether there is an issue with 
re-creatability; 

furthermore, whether there is an issue with re-staging work from the 80s or 90s 
to see whether they withstand the test of time? and whether their form, design, 
and (media) content/choreographies and post-choreographies can be restaged or 
transfered to newer interactional architectures that work in the 21st century. 

(sorry, need to write a new post on how one re-creates "post choreographic" 
works -- these are interactional pieces involving dynamic scripts, algorithms 
and sensor interfaces that need to be relearned by new users, but there is no 
choreography in use as in "steps" , "phrases," or motion directions etc,  but a 
dramaturgy for the narrative/non narrative use of sensual technologies in a 
design for such interactional performance using image or sonic movement; such 
work often takes place in a more cinematic context, rather than a dance stage 
context and perhaps the whole history of screen dance and interactional 
performance with projections really belongs to  different category of 
"choreography," what do you think?)



I was concerned to ask whether we ourselves are actually reviving or restaging 
older work, and why not? 

A second question underlying the presentations of new/recreated and revised 
work is the context (framework) in which such work is seen, and we debated the 
issue of the spaces and the  infratstructures needed for new work.  I refered 
to the unlikely sustainability of a work such as Trisha Brown's " how long 
....."     (once the real time motion analysis system can no longer travel 
long).

In connection with this discussion, i would like to now bring yo your attention 
the new book just released from Emio Greco / PC  in Amsterdam  (Scott deLahunta 
editing),  i just started to read it and it is rather fascinating. 

here is the reference:  
http://www.emiogrecopc.nl/public/index_en.php?thisarticle=97&page=4

<<
(Capturing Intention)


The Notation Research Project , an ongoing initiative by Emio Greco | PC since 
2004, has reached a major milestone with the completion of its second phase. 
The outcomes of this phase of research, based on the Double Skin/Double Mind 
workshop, are available now in the book Capturing Intention that contains a 
film documentary and an interactive DVD-ROM. 

Inside the reader will find materials from a multi-disciplinary research team 
comprising experts in notation systems, cinematography, computer based gesture 
analysis, interactive media design, cognition research and cultural studies. 

The volume contains contributions from Marion Bastien, Bertha Bermúdez, Maite 
Bermúdez, Frédéric Bevilacqua, Maaike Bleeker, Franz Anton Cramer, Scott 
deLahunta, Marijke Hoogenboom, Corinne Jola, Susan Melrose, Eliane 
Mirzabekiantz and Chris Ziegler. 

Publication 
Capturing Intention - Documentation, analysis and notation research based on 
the work of Emio Greco | PC 

Authors
Scott deLahunta (and others) 

© Emio Greco | PC & Amsterdam School of the Arts, 2007, 86 pages, ISBN 
978-90-810813-2-0 
>>

Fascinatingly, the book and its two DVDs are complemented by a spatial 
interactive installation (DOUBLE SKIN / DOUBLE MIND) --   and here i read in a 
review that "because of the costly elements involved, like film screens, 
infrared equipment and real time projections, it has only been set up 
sporadically at symposiums and festivals where Emio Greco / PC perform."

still, i have heard of the installations, and would be interested in learning 
more about them and how they bring in the particpating audiences.  I also feel  
(Chris Ziegler designed the DVD interactive interface), that such a valuable 
research project needs to get our attention here, as it also happens to appear 
almost a decade after the release of another DVD, Forsythe's "Improvisation 
Technologies,"  arguably one of the most well known "works" asociated with the 
young history of the dance technology movement. 

What other dance and research projects (withi this research dimension) do we 
know of, and are these collected/linked somewhere in our websites?


regards

Johannes Birringer
DAP Lab
School of Arts 
Brunel University
West London 
UB8 3PH   UK
http://www.brunel.ac.uk/dap
http://www.digitalcultures.org


"The poetry of dance lies in... the state in which the dancer from one second 
to the next ... forms another body from her body"   
(from "Capturing")

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