powerpoint training

dear class if anyone would like to do an intro to powerpoint please let me know asap if you want to do this course with IT services on Thursday 14th February 13:00 to 16:00 IT Services Training Suite

PS I don't think you need it but for those who are worried about using it you might want to do this to allay your anxieties... (its dead simple to use)

Square Map Of Q4

In a paper I came across a dance company called Bonachela Dance Company, who are putting on a show at the moment called 'Square Map Of Q4'. Amongst its physical and sensual components, it deals with the interraction between technology and dance. It is a combination of four individual sections, (Q1, Q2, etc) 6 dancers and bizzare body movements that are characteristic of Bonachela (the choreographer) and his technical critique. Their website (the link) explains,

'Bonachela has a reputation for pushing at the boundaries of what dance can be. In his new work, he explores the increasingly blurred borders between technology and classicism, the synthetic and the organic and between high art and popular culture.'

However, what caught my eye especially, was that they collaborated with lighting designer Alan MacDonald to create a 3-Dimensional effect on the peformance. The idea, apparently, is to use film as a source of light that gets subliminally filtered through the movement. You will see fleeting images, some of which will be as quick as a human blink, adding to the human/technological divide. If you blink, you will miss it. These sources of light would be a lot like the ones we saw in 'OR' by Dumbtype. They are images that, like when a shutter is opened on a camera, are imprinted on our minds until the next flash of illuminating light hits the stage. Photographs are on the website as well as a good few videos on youtube.

http://www.youtube.com/watch?v=ou1IC3OS7Ak
http://www.youtube.com/watch?v=T-AIU8qaAKs
Rafael Bonachela's website hosts images and records of his work:
http://www.rafaelbonachela.com/web_english/web_content/portfolio/portfolio_choreographic/portfolio_proffesional.html
ESPECIALLY THESE PROJECTIONS:http://www.rafaelbonachela.com/web_english/web_content/photo_gallery/gallery/gallery_21.html

Course Outline Part II. Spring Term

Please Note change to weeks 4 and 7.


Week 1. Case Studies in Contemporary Multimedia Performance I
- contemporary Japanese video performance, Kyupi Kyupi, Dumb Type PH, OR and S/N
Reading:
- http://dumbtype.com/
- Cynthia Gedrich and Woodrow Hood, ‘Noise and Nudity: Kyoto’s Dumb Type’ Theatre Forum #18 (Winter/Spring 2001), 3-11.


Week 2. 15/01 Case Studies in Contemporary Multimedia Performance II
- Blast Theory: Kidnap, Desert Rain
Reading:
- http://www.blasttheory.co.uk
- Matthew Causey ‘The Screen Test of the Double: The Uncanny Performer in the Space of Technology’ Theatre Journal 51.4 (1999) 383-394

Week 3. 22/01 Case Studies in Contemporary Multimedia Performance III
- New Australian performance
- Artspace and P Space
- Monica Tikachek, The King Pins, Tony Schwensen
Reading:
- http://www.performancespace.com.au/
- Scheer, E. (2006) ‘Documents of Paradox: Negotiating Liveness in Video Art’ The Ends of the 60s. Performance, Media and Contemporary Culture, Peter Eckersall and E. Scheer eds., Sydney: Performance Paradigm. 128-35

Week 4. 29/01 Towards a posthuman performance
- Stelarc: Movatar and other actions
- Critical Art Ensemble
- What is post-humanism?
- Cybernetics
Reading:
- Gabriella Giannachi, ‘Cyborg Theatre’ in Virtual Theatres: an Introduction
- Edward Scheer ‘Performing Indifference, An Interview With Stelarc’ Performance Paradigm Journal of Performance and Contemporary Culture. #1, (March 2005) www.performanceparadigm.net


Week 5. 05/02 New cultural media
- Hacktivism and digital politics, activist sites, flashmobs
- Digital performance
- The production of identity in Blogs and Myspace
Reading:
- Rebecca Schneider, ‘Nomadmedia: On Critical Art Ensemble’
TDR: The Drama Review - Volume 44, Number 4 (T 168), Winter 2000
- Jon McKenzie, ‘Hacktivism and Machinic Performance’ in Performance Paradigm Journal of Performance and Contemporary Culture #1 March 2005 http://www.performanceparadigm.net/
- Michael Rush ‘Digital Art’ in New Media in Late 20th Century Art, 168-217.
- John Potts and Andrew Murphie from ‘Digital Aesthetics’ in Culture and Technology, 66-83.


Week 6. Reading week

Week 7. 19/02 Video Installation and time-based art
- Bill Viola confessional video,
- Martin Arnold, Cinemnesis
- Guillermo Gomez-Pena
Reading:
- Gabriella Giannachi, ‘Towards an Aesthetic of Virtual Reality’ in Virtual Theatres: an Introduction
- Michael Rush ‘Video Installation Art’ in New Media in Late 20th Century Art, 116-167

Week 8. 26/02 Performative Architectures
- Rafael Lozano-Hemmer. UnderScan and BodyMovies
- Diller and Scofidio: ‘The Blur Building’ 2002
- Krzysztof Wodiczko ‘Projections’ various 1991
Reading:
- Nick Kaye, from Site-Specific Art. Performance, Place and Documentation, 33-41.
- http://www.art-for-a-change.com/Krzysztof/krzy.htm
- http://www.designboom.com/eng/funclub/dillerscofidio.html

Weeks 9,10. 4,11/03 Powerpoint presentations
- Individual and small group consultations with lecturer (summaries due)
- rehearsals
- Presentations and discussion

DanceForms: Lilac

I particularly liked this piece because it was on of the few on the site that showed group movement and, though I know next to nothing about dance, I can see this being useful to a choreographer as it would enable them tailor large scale dances to the particular demands of a performance space at the earliest possible stage of the creative process. I also think the subtle difference between the movements of the male and female dancers is also a great example of how delicate and realistic this programme can be.

Slow Walk

Hello

this annimation couldnt get any simpler, a figure walking slowly. I think its interesting in terms of focusing on detail. I think the software and technology is helpful in stripping movement down to its most basic and natural level. I can imagine that being very useful for a chreographer, finding rhythmes and styles to basic movement in order to eloborate later. rather like a painter starting with a blank canvas. A dancer would already have a specific way of moving due to his or hers physique and dance training and the software can create a focused artistic vision without any dillusion or misconceptions by dancers themselves. In turn through the clarity of the digital animation other inputs and variations could be discussed.

Something Interesting...

Thought that anyone who was doing there essay on the i-cinema projects might like to have a quick gander at this. Quite interesting in terms of interaction and how computer use may change very drastically in the near future... links with T_Visionarium etc.

Cartwheel Motion

This clip is probably one of the simplest clips from the character motions website. The simplicity was the main thing to draw me to this clip because everything was focused entirely on the moving image of the dancer.

I'm afraid that my knowledge on dance is very limited so I cant really comment so much on the body but am commenting more on the actual technology. The simplicity of the moving image allows for little distraction and helps the viewer to concentrate fully on the image without disturbance. I can see how this could be an effective tool for a professional dancer or choreographer in order to help them to configure dances before they even enter the studio. Very effective