Thanks..your message is the first one of the day...and without having had a
much-needed morning coffee, I wonder, how can I wrap my mind around it?
I'll give it a whirl...
Fundamentally, I agree with you...>if we can break down choreography into
the quanta of dance<... for me this reachs a bit of the heart of the matter
in both actual and telematic space... therefore yes...it's an endless
mission... luckily the angst you mention feels more like a choice...
Bye for now,
>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
>"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.
>>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
>>Doe this help, a little?
>>>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.
>>>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
>>>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
>>Canada: (604) 731-8385
>>Fax: (604) 731-0128
>>Researching at Simon Fraser University
>>School of Contemporary Arts
>shoeVegas 'the digital cowboys'
>wibblywobblyworldwidewebsite = http://www.shoevegas.com
>t: +44 0171 703 6969
>f: +44 0171 701 9977
>snail: 14 & 15 a iliffe yard, off crampton st kennington, london, se17 3qa
Lisa Naugle, Ph.D Candidate
New York University
Music and Performing Arts Professions
Canada: (604) 731-8385
Fax: (604) 731-0128
Researching at Simon Fraser University
School of Contemporary Arts