I cannot help but respond, hoping, if at all possible, to contribute to the
fearfully complex area of virtual dance.
For me, the exploration of telematic space must, above all, focus on our
understanding of vectors. How else can we explain the phenomenology of
virtual movement except through using the linguistics of proto-mathematical
transformations.
"Our" feeble attempts to plot this grand new plane of expression will only
join the triumphant march of art if we can break down choreography into the
quanta of dance - yes I do believe in the quantum mechanics of virtual
dance. YES, YES, YES, God does play dice with the artistic universe.
Good luck with your quest, but know that it will be endless - that, alas,
is the angst ridden nature of our mission.
Best wishes
Lionel Uvi
>My own relation to dancing and choreographing in telematic space began with
>questions like what are we dancing about? What counts as "dance" in such an
>environment? Can "we" in this new space, explore a new criteria for dance?
>What standards are "we" going by? So much of this work has been
>experimental so it is only recently that I have begun to delve into
>"narrative" as a way of connecting diverse and challenging approaches.
>
>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
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