In this film through an exploitation of cinematic techniques, space is itself a dynamic participant in the choreography. This is, in a sense, a duet between space and a dancer÷a duet in which the camera is not merely an observant sensitive eye., but is itself creatively responsible for the performance.

The point about Deren being the Īfirstā can be debated, others were certainly filming dance before Deren, but the distinction might be made between Derenās artistic explorations and what was documentation or entertainment.

I stood to the side watching the movie with the audience· and began speaking again just before it finished completely.

The script which was unstapled so that when I finished a page I could lay it down on the table in front of me. This seemed a more dynamic action than turning a stapled page back on itself. The pages were numbered and the font was 12 point Arial with spacing (approx. 6 pts) between lines.

I made the comment that in one of the previous dayās presentations someone mentioned the "visual desire for the panoramic" of the same period.

Whenever something shows up on the screen I may look back at it, or gesture towards it. I prepared a plain HTML page with the links on it which I go back and forth from, returning to it when I want to Īneutralizeā the image on the screen behind me.

Now there are video/ film archive sites like SK Stiftung Kultur (http://www.sk-kultur.de/) in Cologne with literally hundreds of titles available. There are competitions for Īvideo danceā such as the Grand Prix Video Danse in France and Springdance Cinema in Holland.

The evening before there was a demonstration of a digital dance suit constructed by composer/ digital artist Wayne Siegel which, like some motion capture devices, had sensors positioned at the joints. These sensors generated a sound score via midi/ computer devices. I made the comment that the difference is that motion capture creates a 3-d image which can be manipulated· so itās much different at the computing end ö a lot more computing power is necessary for motion capture.

A recent addition to the technological developments in this area is the CyberSuit built by Virtual Technologies for NASA (http://www.virtex.com/prod_cybersuit.html) to use in analyzing and monitoring the biomechanics of astronauts in space in order to better understand human movement at zero gravity. This "lightweight ankle-to-neck Lycra CyberSuit" records the positions of the ankles, knees, hips, back, neck, shoulders, elbows, forearms, wrists and hands without the cumbersome tethers and line-of-sight limitations of the Ītraditionalā optical and magnetic capture systems.

At this point the Pentiumās connection to the internet seemed to crash. There was no response within the browser window. The likely reason is that I had already loaded Richard Lordās website (see end of paper) into Internet Explorer in the background· which interfered in some way. I jumped ahead past the Charlip comments to the next section and asked the technician to please come restart the Pentium.

"Airmail Dances" were mailed to soloists and companies all over the world where the dancers worked with the drawings to devise transitions from position to position and thereby creating the choreography. The similarity with the Webbed Feats project is clear in terms of the choreographic process· but what is radically different is the Īmode of productionā employed in the process of sending and gathering the material.

The Pentium was still down so I never managed to actually show the top page of the Dance and Technology Zone.

I took a moment to point out that there were two workshops scheduled the day before, Tony Brookās ĪSoundscapesā and Wayne Siegelās DEIM digital dance system· both Denmark based projects which are pushing forward the possibilities in this area.

Terry was involved in the early days of the BBCās ĪDance for Cameraā series. When I visited the Digital Dance project in October 1997, he told me over breakfast that Dance for Camera had always struck him as creating a separate product from dance· because the end result was something which ended up on the box ö screen or television. With the possibilities of such digital things as interactive, multimedia· Terry feels that dance will be able to function on a more equal footing with the media.

In autumn 1997, The British Academy of Film and Television Arts (BAFTA) announced a new award category for "interactive entertainment".

The projections in the performance may be analog but they did use digital technology when making the films and developing the piece at Banff, a Canadian University well known for supporting new developments in media.

Crary writes that the "mystification of a machineās operation" was something which later technologies sought to overcome by exposing the mechanisms of image making. In particular, Crary mentions David Brewster who invented the Brewster stereoscope and kaleidoscope in the late 1840s (the same time photographs of ballet dancers are beginning to appear). According to Crary, Brewster had the political and ideological intention of undermining the power of certain religious elements by using Īscienceā to reveal the secrets of illusion making.

I made the comment that Decostere had also made the video we had seen the day before during Alex Adriaansenās presentation which featured Paul Virilio.

I am grateful to Astrid Sommer at ZKM from whom I obtained the videotape. There is also a crushed version of the project on a CD, which can be rented from ZKM on a temporary basis. They are hoping to be able to published a developed version soon.

At the end of the 3 minute clip I showed, the Ījokeā I mention unfolds· but I would spoil it by describing it here.

I made the comment that we had seen something very similar in the previous eveningās presentation of Wayne Siegelās Digital Dancing suit ö in a short piece entitled "Movement Study II".

I went on from that comment to make the following observation:

"Three things came up last night which tend to do so when work like this (performer controlled environment) is shown.

1. The dancer is seen Īasā an instrument or as Ībecomingā the music ö which was a comment made by the dancer, Pernille Fynne
2. The question came up from the audience whether or not the dancer feels more empowered on stage being in Īcontrolā of the sound
3. The audience became interactive themselves by asking the dancer just to move around, not to perform the choreography ö what the audience really want is to try on the suit themselves."

I made the comment that in this piece projected video imagery as well as sound is triggered (which you can see from the rehearsal tape). In addition, the video images were programmed to react not only to the performers, but also to each other· which gives an option to the one-to-one correspondence mentioned earlier.

Earlier, I had started Richard Lordās Internet dance so that all the necessary Quicktime movies would be downloaded and running in the background in a different browser window when it came time to show this screen.

Essentially the process of the dancer dancing and the camera filming is the same as it was in 1940 when Maya Deren made her film.

The interesting thing about some of Sueās Lifeforms choreography is she chooses to work with the Īsuperhumanā abilities of the Lifeforms figures· for example, she in one piece she has some starting the dance from the air and others from the stage, etc.

My quote here was a little redundant as we had been shown some of the Īvirtual realityā installations they have installed at Ars Electronica in Linz and ZKM the day before.

1. artistic expertise, from both the dance as well as the digital side
2. theoretical expertise, so that a critical awareness can be fostered
3. exchange of information with others doing similar work
4. a place, where experimentation can happen without having to produce a product
5. vision for where dance and technology will be in 5 years