The document discusses the work of Loie Fuller, an early 20th century dancer known for her innovative use of lighting and fabric in performances. It describes how she used silk and lighting effects to make her body appear as waves of water. The document also mentions her patents related to stage lighting techniques and how she fiercely protected these. Additionally, it discusses her influence on later artists and performances, including her work as a set designer for the Ballets Russes.

1. Going
to
show
a
LOT
of
performance
video
snippets,
some
grainy,
some
not…
1

2. 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."
2

3. 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
3

4. "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.
4

5. (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"
5

6. 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
6

7. 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/
7

8. 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.
8

9. 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)
9

10. 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.
10

11. 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
11

12. 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
12

13. rise
of
faster/smaller
computers
and
be;er
media
IO
soiware
and
protocols
(MIDI,
QuickTime,
Macromedia
Director,
etc)
13

14. 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)
14

15. 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)
15

16. 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.
16

17. 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.
17

18. 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/
18

19. 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
19

20. 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"
20

21. (Start
around
41)
h;p://lostwax.org/work/parVcular-­‐2/
Also
working
with
Lostwax,..
21

22. h;p://www.frieder-­‐weiss.de/works/all/Kylie.php
(SOUND)
Weiss
is
using
his
EyeCon
sw
to
make
this
visual
ix
22

23. 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
23

24. 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
24

25. 2010
Be
Here
Now
Ensemble
25

26. "Hairline
Cracks"
being
performed
at
ImageMovementSound
FesVval
2005.
Onstage:
Juanita
Suarez,
Stacy
Poynger,
and
Elouise
Oyzon.
26

27. Free
soiware?
Camera
+
generated
animaVon
mix?
Programming?
27

28. Not
about
flexing
pixel
muscles.
What's
an
appropriate
way
to
convey
the
story?
28

29. VVVV,
Processing,
PureData,
Open
Frameworks,
and
raw
code
are
free.
Any
hardware/cameras/projectors
involved
are
not
29

30. 30