I find the use of the danceforms technology on the ballet body interesting in a number of ways here.
Firstly the conflict of tradition meeting innovation. Ballet, arguably the foundation style in western dance is inseparable from history, yet in ‘Centre Excerpts’ its connotations of institution are expressed in a medium which challenges that which has been before.
However, when considering how coded the ballet body may already be we may view its representation through danceforms as a natural progression.
Ballet steps are formalised and recorded- there is a correct and incorrect way to perform them, there are names and standardised descriptions for how each movement should be executed and the body itself strives for logic and a pleasing aesthetic- all notions we may parallel with a computer programme.
Further this, ballet values perfection in presentation while the human body must strive to overcome its inherent imperfections, something the ‘perfect’ danceforms figure has no concern with.
Could it be then that the danceforms ballet body is actually the perfect ballet body?
Almost definitely not, but perhaps one to discuss?
Tuesday 4 December 2007
Dancing Dollar
I like this little clip of DanceForms in action as it pushes what dance actually is. I always take it to be the movement of the human body, and even DanceForms, whilst an artificial reality, is modelled on the human frame. Even in this clip we can just about trace out human-like qualities in the dollar bill - arms, legs, torso, maybe a head. However, the dollar is flatter, wider and more angular than a human, and appears to have been made with an entirely different model and not just a human model with a dollar texture applied over the top.
This goes beyond making animals dance or manipulating puppets. An inanimate object is given the status of dancer, moving of its own virtual volition without any real-world strings - and therefore the uniquely human quality of dance is challenged. And that's without the apparent comment on the body as being just a part of late day capitalism symbolised by the currency. All that from
a few seconds of video.
This goes beyond making animals dance or manipulating puppets. An inanimate object is given the status of dancer, moving of its own virtual volition without any real-world strings - and therefore the uniquely human quality of dance is challenged. And that's without the apparent comment on the body as being just a part of late day capitalism symbolised by the currency. All that from
a few seconds of video.
Character in Motion piece
Hi guys,
I chose Janet Randell's piece 'Dream Fantasy'
Now this is an interesting one as I feel as the life form software is being used to show the limitations of a dancer’s environment, rather than the actual dancing. Here the performance starts as a ballet, then the environment changes to water so the dancer swims. The environment then changes to ice so the dancer is almost figure skating. It finishes with the dancer dancing in air. It demonstrates how the body reacts and uses the environment it is contained in. It is only through technology that this dance sequence could take place. It is, as the title suggests, a dream dance, as reality could never be apart of it. Janet Randell has created a dance that can only exist in this multimedia world. For me, this is the one of the most strongest aspects of life forms software.
I chose Janet Randell's piece 'Dream Fantasy'
Now this is an interesting one as I feel as the life form software is being used to show the limitations of a dancer’s environment, rather than the actual dancing. Here the performance starts as a ballet, then the environment changes to water so the dancer swims. The environment then changes to ice so the dancer is almost figure skating. It finishes with the dancer dancing in air. It demonstrates how the body reacts and uses the environment it is contained in. It is only through technology that this dance sequence could take place. It is, as the title suggests, a dream dance, as reality could never be apart of it. Janet Randell has created a dance that can only exist in this multimedia world. For me, this is the one of the most strongest aspects of life forms software.
Monday 3 December 2007
Death By A Thousand Cuts
Hey guys,
I found a great video by artist Chen Chieh-jen from Taiwan. It was part of an amazing exhibition of video artists work that dealt with working class, thirdworld and sweat shops. It is a protest against the Taiwanese sweatshops, but also looks at the history of cheap labour. It is only a short extract of the video, but I have also found another small video of the artist explaining his motives on youtube. Here is the link: http://uk.youtube.com/watch?v=xqqca2EmXa8. It is up to your own interpretation, but I do know that to shoot the video, he got women who were released from these sweatshops seven years ago or more and helped them confront and be a part of his work. He deals with themes of abandenment and extortion. The women were fired overnight without adequate compensation or warning. Also in the footage from youtube, he incorporates clips of the sweatshops from the 60s, which relays a notion of history and the fact that this exploitation has gone on too long, or long enough. I particularly think the ending to the video is powerful, as it shows two of the women holding up a jacket they made and as the camera pans inwards it is an invitation for you, the western consumer, to try it on, or that their pain is on you shoulders perhaps. What do you think? There are loads of other greeat video artists on the first sight with videos from people like William Kentridge. Have a look and tell me what you think!
Sam
I found a great video by artist Chen Chieh-jen from Taiwan. It was part of an amazing exhibition of video artists work that dealt with working class, thirdworld and sweat shops. It is a protest against the Taiwanese sweatshops, but also looks at the history of cheap labour. It is only a short extract of the video, but I have also found another small video of the artist explaining his motives on youtube. Here is the link: http://uk.youtube.com/watch?v=xqqca2EmXa8. It is up to your own interpretation, but I do know that to shoot the video, he got women who were released from these sweatshops seven years ago or more and helped them confront and be a part of his work. He deals with themes of abandenment and extortion. The women were fired overnight without adequate compensation or warning. Also in the footage from youtube, he incorporates clips of the sweatshops from the 60s, which relays a notion of history and the fact that this exploitation has gone on too long, or long enough. I particularly think the ending to the video is powerful, as it shows two of the women holding up a jacket they made and as the camera pans inwards it is an invitation for you, the western consumer, to try it on, or that their pain is on you shoulders perhaps. What do you think? There are loads of other greeat video artists on the first sight with videos from people like William Kentridge. Have a look and tell me what you think!
Sam
Sunday 2 December 2007
I think 'slow walk' really optimizes dance forms intention to not only act as an accurate 3D notation for a choreographer, but also to encourage the developments of new movements or choreographed dance sequences through its viewing. To slow a natural movement (like walking) to such a degree that you might then see it totally differently, that you can then rethink, and recreate from that breakdown is really interesting.
As you watch the slow steps of the 3D figure walk, you notice a shift of weight as she moves from foot to foot, her head swaying to look over the leading foot in the exact same time it takes for her to perform her next step. The slowed nature of the clip makes this noticeable, this can then be elaborated/enlarged or even totally removed by the time it is taught to the dancers. These movements and their developments may well be missed without the use of this tool.
I think this tool also saves choreographers a fair amount of time.(Even though it is initially difficult and tedious to master) Instead of having to make fast decisions in the rehearsal period that will ultimately affect the look of the piece, the choreographer can get a very precise idea of how he would like the more intricate movements and moments of the dance to be performed. This puts the choreographer in a stronger position when translating it into performance,as he really knows just what he is trying to achieve. It allows precision rather then a lax trial and error system that may waste allocated rehearsal time.
As you watch the slow steps of the 3D figure walk, you notice a shift of weight as she moves from foot to foot, her head swaying to look over the leading foot in the exact same time it takes for her to perform her next step. The slowed nature of the clip makes this noticeable, this can then be elaborated/enlarged or even totally removed by the time it is taught to the dancers. These movements and their developments may well be missed without the use of this tool.
I think this tool also saves choreographers a fair amount of time.(Even though it is initially difficult and tedious to master) Instead of having to make fast decisions in the rehearsal period that will ultimately affect the look of the piece, the choreographer can get a very precise idea of how he would like the more intricate movements and moments of the dance to be performed. This puts the choreographer in a stronger position when translating it into performance,as he really knows just what he is trying to achieve. It allows precision rather then a lax trial and error system that may waste allocated rehearsal time.
charactermotion's Cartwheel Motion (DanceForms)
The simplicity of this clip was appealing; with no other distractions, full focus was given to the image and the choreography. The cartwheel was attractive and interesting to watch, mainly due to its delicacy; Kaiser notes that an incentive for Bill T. Jones to engage with this type of work was its ability to show a more vulnerable body.
Contrastingly, Kaiser himself feels that a downside of this practice is its limitations; it is obviously artificial and only ever a substitute for a human body. It seems inevitable then that we desire the real human body, instead of a digital version; or alternatively, we ask even more of technology.
It should be noted that technology need not replicate the human body and its dance to achieve more realism however. Theodores expresses that dance developed through exploring the human body and its movement in what were seen as unnatural ways, such as cartwheeling. Technology then, has the opportunity to develop its own digital dance and choreography, other to the known and accepted dance of humans, and far beyond the restrictions of physical dance.
Contrastingly, Kaiser himself feels that a downside of this practice is its limitations; it is obviously artificial and only ever a substitute for a human body. It seems inevitable then that we desire the real human body, instead of a digital version; or alternatively, we ask even more of technology.
It should be noted that technology need not replicate the human body and its dance to achieve more realism however. Theodores expresses that dance developed through exploring the human body and its movement in what were seen as unnatural ways, such as cartwheeling. Technology then, has the opportunity to develop its own digital dance and choreography, other to the known and accepted dance of humans, and far beyond the restrictions of physical dance.
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