Video/animation Archive

Working with Software

Questions and Answers:

Answer #3: - creating virtual performers
-expanding opportunities for multi-site and remote performances
-increasing the number of potential collaborators (Tracy Yorke)

Question #7: What are the artistic, intellectual, visceral and emotional issues that can be addressed using computerized/animated, interactive and virtual technologies?

Answer #1: They are infinite. It’s like asking what are the different interpretations of using the color blue. What’s wonderful about this versatile color palette (these technological means) is that they can be used to rend whatever effort (artistic, intellectual, visceral, or emotional) the artist wishes to present. With this new color the picture I feel can become more rich, therefore either more visually please for the audience, clearer, or both, which I feel is an important intention when dealing with the arts – clarity in your message. (Ricky Alvarez)

Answer #2: I think the computerized/animated, interactive and virtual technologies lend themselves to exploring issues of self, space, time and control in novel ways. Often when working in our groups, these issues became the subject of much debate. For example, in the case of
self, the dance animation threaten to replace the dancer. Clearly this was a matter of artistic vision and intent. However, many became concerned that we wanted to replace the physical dancer with an animated form. This caused us to think more purposely about how we constructed the dancer's physical body in performance and what "value" if any did the animated form gave. (Tracy Yorke)

Question #9: Describe your experience of working with the Dance Forms, Poser and 3D MAX in the context of creating virtual performers and environments for stage performance. How was you creative process informed by your experience in the mediated stage environment?

Answer #1: My experience with animation was really geared towards learning the software. As I created images, I didn’t necessarily think about the interactive capabilities. However, after viewing many of the participant projects created, it became evident which images were more effective and which were not. In creating virtual environments, simple wirefram images were very effective. They certainly could transport the performer into an alternative environment as well as have him/her interact with those objects. In terms of virtual performers, I found it more effective to not try to make the animation be human like. The animation programs enable you to create performers that can do unhuman movements why not use them. I think Yacov’s work exemplifies this. He creates animations that appear human in form, but execute humanly impossible movement. By the time the animations are completed, they have evolved a personality that emerges through their rippling and morphing movement. Live human performer attempt to interact with these virtual entities by emulating the humanly impossible movement, complicating and blurring the boundaries of performance.
If I have the opportunity to work with animations again, I would want to think about letting the animation exist in its non-humanness, to play with it capacity to do the impossible, and see if it develops a distinctive identity of its own. From this point I would want to see if the intelligent stage can offer further and surprising ways to manipulate the animation as it interacts with a live performer. (Apryl Seech)

Answer #2:I did not work with these programs, yet I thought it was interesting seeing these “worlds” manifest on the stage. I especially found it curiously fascinating intertwining a live feed upon these animations. The creation of multiple “stages” within the boundaries of a single stage was mind boggling, but fascinating. I would think that through continued investigations that coordinating a dance with these programs would produce a quite effect performance.(Ricky Alvarez)

Answer #3: Tedious. However, once you "know" the mediated stage environment, I think that creating virtual performance becomes a lot easier. You sort of limit the possibilities and focus on a specific idea. For example, in our first project there was a complete disconnect between the virtual performer and the mediated environment---and our artistic goal even. The second time around we were very clear about the type of surfaces we would be projecting on to as well as the planned interaction with the human dancers that the virtual performer "fit" the space so much better. (Tracy Yorke)

Question #16: Describe how working with animation software has informed your movement invention and choreography, and how do your movement and choreographic preferences inform your animation work?

Answer #1: When I'm choreographing on human bodies, the impetus for movement sometimes comes from breath and sometimes comes from an idea i force on the body. The former is easier to make on a human body as well as it easier to perform. when working with animation software, there is no breath so organic looking movement is much more difficult to make the dancer do.(Rhea Speights)

Answer #2: Simply put, learning a dance from a computer was an experience! I think one of the best pros from such a means is that the dancer is given a visual suggestion, whether minimal or explosively exaggerative, from a computer animation and forced to problem solve how about would one need to move in order to imitate such movement. It almost becomes a whole new learning process, in which we explore and become more aware of our bodies limitations and potential.
Conversely, we can shape a direction within an animation that suites our own choreographic interests - therefore resulting in a more tailored animation that can still function as an inspirational source for your particular taste. (Ricky Alvarez)

Computer Set Up for Informal Showing

Max Class in the Performance Space

Computer Set Up and Trigger Testing

Project One Performance