motion with motion: survey of dance + video performance (captivate conference '13)

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Learn about an intermedia intersection of movies and dance. This presentation will share past and present use of movies and now interactive visuals as an integral part of the set for dance performance.

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Page 1: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Going  to  show  a  LOT  of  performance  video  snippets,  some  grainy,  some  not…  

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Page 2: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://thebluelantern.blogspot.com/2013/02/loie-­‐fuller-­‐joseph-­‐paget-­‐fredericks.html  Joseph  Paget-­‐Fredericks'  gouache,  Loie  Fuller  performing  Claude  Debussy's    La  Mer  (inspired  by  Hokusai)  is  a  wave  in  human  form.      To  achieve  that  effect  Fuller  converted  a  staircase  and  hundreds  of  square  feet  of  silk  into  lapping  waves.  Pavel  Tchelitchew  …  remembered  the  1925  performance  for  its    "dreamlike  costumes  of  trailing  silk  and  its  phantasmagorical  lighVng."  Before  there  was  modern  dance  (review  of  Electric  Salome:  Loie  Fuller's  Performance  of  Modernism    by  Rhonda  K.  Garelick)  by  Cassandra  Langer  h;p://www.thefreelibrary.com/Before+there+was+modern+dance.-­‐a0179233713  "Fuller  was  a  great  innovator  and  held  many  patents  relaVng  to  stage  lighVng,  including  chemical  compounds  used  to  create  color  gels  and  the  use  of  chemical  salts  for  luminescent  lighVng  and  garments-­‐-­‐patents  that  she  guarded  fiercely,  resulVng  in  many  Vme-­‐consuming  lawsuits."  

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Page 3: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

3  years  later  as  set  designer  for  Ballets  Russes  production  of  Ode…  "Dance,  Film,  and  the  Ballets  Russes",  Lynn  Garafola.  Dance  Research:  The  Journal  of  the  Society  for  Dance  Research  Vol.  16,  No.  1  (Summer,  1998),  pp.  3-­‐25    

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Page 4: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

"She  opens  it  and  from  it  springs  (projected  in  brilliant  white  on  a  black  screen)  a  large  white  oval  (a  seed)  which  expands,  ...  becomes  a  stem  and  then  a  cluster.  ...  Finally,  as  the  box  gives  forth  more  seeds,  a  luminous  tree  develops."  Pavel  Tchelitchew:  a  set  design  for  Ode,  Ballets  Russes,  1928  Despite  mediocre  music  and  choreography,  Ode  was  a  sensaVon,  a  construcVvist  spectacle.  

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Page 5: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

(SOUND)  Image  Content  Designers:  Raymond  St-­‐Jean,  Jimmy  Lakatos,  and  Dago  Gonzalez  for  Cirque  du  Soleil,  ONE  2013  VYV  Photon  media  server  soiware  programmers:  Alexandre  Barre;e,  Alexandre  Murray  "displaying  video  using  an  unlimited  number  of  projectors.  Photon  handles  3D  warping  and  edge  blending  on  any  surface  shape,  in  real-­‐Vme,  even  while  in  movement"  

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Page 6: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

This  video  is  from  our  reconstrucVon  of  Ouverture,  presented  as  part  of  Movement  Research's  celebraVon  of  the  anniversary.  July  6,  2012,  at  the  Judson  Church.    OUVERTURE  (SPLIT  SCREEN  &  BY  CHANCE  DANCE  &  FILM)  was  originally  performed  in  1962  with  fiieen  minutes  16mm  film  &  1  dancer,  realized  for  Judson  Dance  Theater's  First  Concert.    The  audience  is  requested  to  walk  through  the  movie  screen  before  seaVng.    h;p://www.elainesummersdance.com    

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Page 7: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Film  footage  by  Stan  VanDerBeek  and  Nam  June  Paik's  manipulated  television  images  were  projected  on  screens  behind  the  dancers.    h;p://www.mediaartnet.org/works/variaVons-­‐v/  

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Page 8: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://www.youtube.com/watch?v=zW40Su5m0rI  Incredibly,  even  mathemaVcally  polished  and  focused  on  all  fronts  (retrpspecVve  performance)  ConvenVons  that  "work"  in  this  genre  –can  distort/blur/ripple  image,  but  don't  move  the  POV  (pans  &  zooms)  –  usually  try  to  funcVon  as  window,  not  eye.  ExcepVons  –  transiVons,  simulaVng  movement  (think  running-­‐in-­‐place  or  kineVc  acts  like  Bandaloop  or  Streb).  This  is  parVcularly  important  for  non-­‐abstract  imagery.  Filling  the  proscenium  while  complemenVng  or  echo'ing  dance  (not  overpowering).  KISS  (and  all  of  these  are  avowed  minimalists)  not  a  bad  place  to  start.  

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Page 9: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

InspiraVon  comes  from  American  sculptor  Richard  Serra’s  CompilaVon  of  Verbs  (express  as  movement)  and  the  work  of  photographer  Eadweard  J.  Muybridge.  Each  verb  is  iterated  or  mirrored  or  reversed  in  a  film  shot  of  the  dancers  filmed  performing  the  work.    h;p://www.randomdance.org/producVons/wayne_mcgregor_current/undance  (start  at  40s)  

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Page 10: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://www.ruf.rice.edu/~orpheus/orpheus.html  "Theatrically,  the  opera  draws  from  several  physical  and  cinemaVc  vocabularies  such  as  European  tanztheater,  Japanese  butoh  dance  and  avant-­‐garde  video  art.  Musically,  the  producVon  shiis  between  idioms,  including  free  jazz  improvisaVon,  atonal  music,  industrial  rock  and  a  broad  spectrum  of  vocal  music  ranging  from  bel  canto  arias  to  wordless  sounds.  The  performance  is  mulVlingual  (English,  German,  Italian,  French,  Spanish,  Portuguese,  and  Arabic)."  Birringer  has  since  go;en  into  telepresence  and  networked  dance  (like  in  2nd  Life),  virtual  costumes  layered  over  real  costumes,  and  wriVng  a  lot  about  these  tech/art  intersecVons.  He  was  based  in  Houston  before  taking  a  posiVon  in  Europe,  but  UT-­‐AusVn  currently  has  telepresence  dance  academics-­‐  Yacov  Sharir  -­‐  if  you  want  to  play  in  that  arena.  

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Page 11: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://www.kinodance.org/secretstreams.html  (start  at  5min)  Even  small  dance  companies  can  afford  to  incorporate  imagery  powerfully  into  their  composiVons  by  this  point  

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Page 12: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

In  this  example  moving  screens  (one  moved  by  dancers)  as  translucent  set  design  (start  8:26)  h;p://www.armadillodanceproject.com/AF/Residues/residues.htm  

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Page 13: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

rise  of  faster/smaller  computers  and  be;er  media  IO  soiware  and  protocols  (MIDI,  QuickTime,  Macromedia  Director,  etc)  

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Page 14: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

The  dance  used  the  MidiDancer  system  to  allow  the  performer  to  control  the  generaVon  of  music,  the  recall  of  video  images,  the  theatrical  lighVng  and  the  movements  of  a  roboVcally  controlled  video  projector.  MidiDancer  Sensory  Suit  &  LaserDisc  Technology:  Mark  Coniglio  h;p://troikaranch.org/vid-­‐earlierWorks.html  (start  at  1:10)  

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h;p://www.mulleras.com/miniatures/e_accueilmin.html  (1998  -­‐  2001)  -­‐  Phase  1  real  ...  virtual:        mulVmedia  and  web  works    -­‐  Phase  2  virtual  ...  real:        stage  performance    -­‐  Phase  3  real  ...  virtual:        mulVmedia  and  web  works  (suite  et  fin)    

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Page 16: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://www.arts.rpi.edu/~bahnc2/acVviVes/SSpeaPer/pikapika.htm  h;p://www.nime.org/2003/curVs.html  (SOUND)  Pikapika  is  a  character  influenced  by  anime  and  manga,  Japanese  pop  animaVon  and  comics.  Pikapika  dons  a  new  wireless  interacVve  dance  system  (SSpeaPer,  Sensor-­‐Speaker-­‐Performer)  created  by  composer  CurVs  Bahn.  SSpeaPer  naturally  locates  and  spaValizes  electronic  sounds  to  emanate  from  the  speakers  mounted  on  her  body.  As  Pikapika  moves,  her  gestural  informaVon  is  sent  by  radio  to  an  interacVve  computer  music  system.  The  sounds  are  then  broadcast  back  to  her  body,  creaVng  a  new  audio  "alias"  for  her  character;  a  sonic  mask.  As  with  all  interacVve  Bahn/Hahn  collaboraVons,  the  form  and  texture  are  under  the  complete  control  of  Tomie  as  she  dances.  Each  performance  is  a  unique  instanVaVon  resulVng  from  the  dancer's  "improvisaVon"  with  the  computer  music  system.  

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Page 17: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://troikaranch.org/vid-­‐surf.html  (start  1:50)  I  interned  with  Troika  Ranch  in  2001/2.  By  that  point  Mark  was  giving  workshops  and  selling  his  soiware  for  driving  performances,  named  Isadora.  Troika  Ranch  performances  were  very  conscious  of  the  tech  serving  the  dance  concept.  

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Page 18: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Body  projecVon  technology  by  buero+staubach  Berlin  (design  firm),  with  André  Bernhardt  (game  dev)  Although  one  of  the  earliest  projecVon  mapping  examples  I'll  show  you,  this  is  sVll  my  favorite  h;p://www.exile.at/appariVon/  

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Page 19: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://ole.kristensen.name/works/body-­‐navigaVon/  We  used  Processing  for  the  infrared  blobtracking  of  the  dancers  and  drawing  the  open  gl  graphics.  During  the  performance  Tina  controlled  the  whole  thing  live  from  an  Isadora-­‐based  interface  via  osc.  The  audience  looks  in  through  the  blocky  openings  in  the  side  and  top  

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Page 20: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://lostwax.org/work/blinking-­‐2/  (start  3:40)  Usually,  Luke  does  the  responsive  audio/music  for  Lostwax,  but  this  Vme  he  took  on  the  visuals  as  well.  Luke  is  co-­‐author  of  Ji;er,  which  is  a  plugin  for  MAX/MSP  for  using  matrixes  with  data  (parVcularly  video  data)  "Opening  with  a  seemingly  normal  filmic  display,  a  woman  chayng  with  her  friend,  two  young  boys  play  in  the  space  behind  her  ‚  in  a  close-­‐up  moment,  we  begin,  with  the  help  of  the  sound  and  lighVng  ‚  to  recognize  the  pa;ern  and  rhythm  of  her  blinking.  This  rhythmic  structure  becomes  moVvic,  expressed  musically  in  a  repeaVng  pulse  of  sound.  The  percussive  elements  suddenly  ally  to  the  lighVng  ‘blinks’  as  synchronized  pulses  of  light  begin  to  appear,  illuminaVng  flickers  of  movement.  Surprisingly,  the  light  begins  to  have  content  as  it  resolves,  projected  video  throughout  the  space  as  graphical  resonance  of  the  dancers’  movement.  The  seemingly  conVguous  movie-­‐screen  comes  apart,  revealing  eyelid-­‐like  puzzle  pieces  of  projecVon  surface"  

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Page 21: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

(Start  around  41)  h;p://lostwax.org/work/parVcular-­‐2/  Also  working  with  Lostwax,..  

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Page 22: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

h;p://www.frieder-­‐weiss.de/works/all/Kylie.php  (SOUND)  Weiss  is  using  his  EyeCon  sw  to  make  this  visual  ix  

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Page 23: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

In  a  huge  science  museum  planetarium  dome  with  a  very  dim,  std  office  projector  for  Rochester's  Fringe  FesVval  Fill  the  humongous  overhead  space  with  imagery  that  complements  my  collaborators  –  musicians  and  dancers.  Plz  pardon  the  fuzzy  video  

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Page 24: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Provide  bg  texture/light  when  dance  is  featured.  Don't  dis-­‐orient  the  dancers  (save  it  for  the  music-­‐only  piece)…  (Kaliedoscope)  Enchant.  InteracVve  (listening  to  the  music  at  various  frequencies)  only  when  imagery  is  featured  more  than  dance  

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Page 25: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

2010  Be  Here  Now  Ensemble    

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Page 26: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

"Hairline  Cracks"  being  performed  at  ImageMovementSound  FesVval  2005.  Onstage:  Juanita  Suarez,  Stacy  Poynger,  and  Elouise  Oyzon.    

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Page 27: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Free  soiware?  Camera  +  generated  animaVon  mix?  Programming?  

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Page 28: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

Not  about  flexing  pixel  muscles.  What's  an  appropriate  way  to  convey  the  story?    

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Page 29: Motion with Motion: survey of dance + video performance (Captivate Conference '13)

VVVV,  Processing,  PureData,  Open  Frameworks,  and  raw  code  are  free.  Any  hardware/cameras/projectors  involved  are  not  

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