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Documentation Introduction



Video/animation Archive


Historical and Aesthetic Trajectories

For the purposes of critical reflection and making a contribution to an evolving discourse related to interactrive, mediated performance work, it is useful to research who has done this sort of work in the past and for what purpose. As noted in the introduction, we have done some of that work both before and during this project.

When asked about historical antecedents to his, work Sharir replies: My personal work and exploration lies within the following technologies: Exploring computerized choreography/virtual reality & cyberspace, the use of wearable computers in performance, as well as the use of interactive systems for performance augmentation. My initial interest was based on notions and imagery of travels to distant and usually outer spaces. Instead I am exploring these notions turned in on themselves - my travels not to an abstract virtual "outer" space, but to the inner reaches of the way I make things work and in the physical spaces with which I am most familiar and comfortable with.
When I conduct workshop where the exploratory process involve multiple participants, I seek to explore these and other questions related 'emergent electronic technologies', how they may influence the artistic processes and experiences of the work we create together. New technologies offer means to extend, manipulate and color work in different ways, many of which are not possible in a technologically-unmediated physical realm. In exploring these technologies, I/we look at how the human physical body can be enhanced and perceived in ways we are yet to find out. These different perceptions may derive from the experiential effects of the technologies, as well as a journeys through computer simulations of choreographic works and the responses they elicit.
While exploring the use of interactive, animated, and virtual technologies, I find my personal sense of aesthetics to be drifting. It becomes more cognitive in a way that is un-intended or inspired rather than my own personal (artistic) aesthetic. I am continually interested in the unseen, the yet unexplored movement, or performance material, for the purpose of revealing the full spectrum of convergence that is possible only by technological mediation. I must draw deeply from my skill and craft to embody movement that is physically impossible (on the computer or with the use of an interactive performance system) but may be conceptually and cognitively challenging.

Questions and Answers:

Question #22: As far back as the early 1960s, Joseph Svoboda and Merce Cunningham experimented with (respectively) live remote television streams in performance as well as triggering environments. What makes this work we are doing today new or not? Are there a particular set of aesthetics and / or compositional strategies that might be unique to this sort of artwork? Do you think this type of artwork or creative experience will become more common in the future and why?

Answer #1: In the spirit of Postmodernism, everything has already been done. To me that doesn't matter. Many great artists copied the Master's works to then find a unique way of expressing themselves.I believe that this artwork will be more common in the future. As technology advances and the performing arts embrace new technology we will see more advanced work. (AJ Niehaus)

Answer #2: I think what makes what we are doing to day important and even is some ways new is that "we" are doing it. With increased accessibility to technology, live remote television streams in performance as well as triggering environments are not
the domain of the masters, but really could become a common expressive modes for the masses. I think this will be tremendous for the arts community and our ability to leverage support and greater audiences. Artistically and compositionally, I think we are at the very early stages. I don't think that our work thus far has been fundamentally transformed by the medium. I think that we are still taking traditional strategies and ways of creating into a new medium, rather than completely transforming the way we create.(Tracie Yorke)

Answer #3: The work that is being produced today I would consider to be new. Granted ideas may be the same or productions may be similar, but because of the new inventions and more technologically advanced devices and programs that are being used how can you say things have not evolved? As well, new ideas and more bold conceptual ideas I feel have emerged in the forefront of the art world because of the level and ground that was covered by these pioneers.
One factor that I feel would distinguish these new “artworks” from past productions is these new technologies that have come about within the past decade. As our knowledge of digital information and mastery in telecommunication grows quicker and grander so are our productions. The experimentations that Svoboda and Cunningham had embarked on can now be regenerated in a more smooth and flawless manner because of these advances in technology – taking us one step further towards broadening our own horizons.
I think that as we continue to explore the world of telematics and push the creative envelope eventually the public will begin to notice and understand the fascinating dynamic medium found in dance and technology. (Ricky Alvarez)

For more information see the SDAT04 reading list.



Project 1 – setting the space



Afternoon Work Session




interaction with animations

Interaction with animations