For example in preparation for a piece to be presented in May, I have been
reading several books on the theme I want to explore. The "picture" in my
mind is still somewhat unclear, but well developed well enough for me to
have a sense of direction and plan a rehearsal. So, I'm building a
collection of word images which will trigger physical experiences during
the "performance". During the time of the event, I will move between being
one of the dancers and the camera person. Images will be synthesizing
through the point of view through the camera. When taken together into the
discipline of dance and technology the "Beginnings and Endings", "Entering
and Exiting" will be inseperable from revealing some aspect of relationship
to participants at remote sites. I gravitate toward what you might call a
"non-narrative" approach. So working on the edge of the camer frame, close
up (to the point of distortion) fragmenting the body, inconsistent
unfolding of form ...right now I am draw to this approach in telematic
space.
Doe this help, a little?
Lisa Naugle
>I'm responding to the telematics thread which was going on for a bit a few
>weeks ago. I think Richard Povall made the last contribution when he
>described the piece 'Empire' by Robert Ashley. Sounded fascinating... and
>interesting that it was done in 1992. I think we all get lost a bit
>sometimes in not realising that this sort of work has been around for a bit.
>
>I'm currently involved in organising a short intensive 'telematic workshop'
>for 8-10 dance, theater and film students at the Amsterdam School of the
>Arts. While we are trying to find the funding for a PictureTel ISDN
>connection between two sites in Holland (with maybe a third joining from the
>UK), I am afraid the money might not come through. Just in case, we are
>arranging for the possibility of doing the workshop in two spaces, side by
>side in the same building and just running video cable between them. Both
>studios will have LCD projectors and screens so what is happening in the
>other room will be projected in real time on one wall of each studio.
>
>We are planning this workshop to be 'basic research' into the nature of
>telematic presence within the frame (which we are stuck with until we
>project holographic dancers which might be with us in 2018 if all goes
>well). We have decided to stick to two simple activities in relationship to
>this -- arriving and departing in telematic space. Hellos and Goodbyes,
>Beginnings and Endings, Entering and Exiting. We will look at how this works
>in a narrative structure (like how cinema handles something like coming on
>screen and going off) and in a non-narrative way (like how an might take
>place more formally on the edge of the screen).
>
>Anyone whom I haven't already talked to who has done similar work -- would
>be nice to hear from you.
>
>Best,
>
>Scott
>----------------------------------|
>Scott deLahunta and Susan Rethorst
>Writing Research Associates, NL
>Sarphatipark 26-3, 1072 PB Amsterdam, NL
>tel: +31 (0)20 662 1736
>fax: +31 (0)20 470 1558
>email: sdela@ahk.nl
>http://huizen.dds.nl/~sdela/wra (WRITING RESEARCH ASSOCIATES)
>http://www.art.net/~dtz (DANCE AND TECHNOLOGY ZONE )
=====================================
Lisa Naugle, Ph.D Candidate
New York University
Music and Performing Arts Professions
Dance Program
New York:(212)604-4163
Canada: (604) 731-8385
Fax: (604) 731-0128
email:naugle@sfu.ca
Researching at Simon Fraser University
School of Contemporary Arts