Going	
  to	
  show	
  a	
  LOT	
  of	
  performance	
  video	
  snippets,	
  some	
  grainy,	
  some	
  not…	
  
1	
  
h;p://thebluelantern.blogspot.com/2013/02/loie-­‐fuller-­‐joseph-­‐paget-­‐fredericks.html	
  
Joseph	
  Paget-­‐Frederick...
3	
  years	
  later	
  as	
  set	
  designer	
  for	
  Ballets	
  Russes	
  production	
  of	
  Ode…	
  
"Dance,	
  Film,	...
"She	
  opens	
  it	
  and	
  from	
  it	
  springs	
  (projected	
  in	
  brilliant	
  white	
  on	
  a	
  black	
  scree...
(SOUND)	
  Image	
  Content	
  Designers:	
  Raymond	
  St-­‐Jean,	
  Jimmy	
  Lakatos,	
  and	
  Dago	
  
Gonzalez	
  for...
This	
  video	
  is	
  from	
  our	
  reconstrucVon	
  of	
  Ouverture,	
  presented	
  as	
  part	
  of	
  Movement	
  
R...
Film	
  footage	
  by	
  Stan	
  VanDerBeek	
  and	
  Nam	
  June	
  Paik's	
  manipulated	
  television	
  images	
  
wer...
h;p://www.youtube.com/watch?v=zW40Su5m0rI	
  
Incredibly,	
  even	
  mathemaVcally	
  polished	
  and	
  focused	
  on	
  ...
InspiraVon	
  comes	
  from	
  American	
  sculptor	
  Richard	
  Serra’s	
  CompilaVon	
  of	
  Verbs	
  
(express	
  as	...
h;p://www.ruf.rice.edu/~orpheus/orpheus.html	
  
"Theatrically,	
  the	
  opera	
  draws	
  from	
  several	
  physical	
 ...
h;p://www.kinodance.org/secretstreams.html	
  (start	
  at	
  5min)	
  
Even	
  small	
  dance	
  companies	
  can	
  affor...
In	
  this	
  example	
  moving	
  screens	
  (one	
  moved	
  by	
  dancers)	
  as	
  translucent	
  set	
  design	
  
(s...
rise	
  of	
  faster/smaller	
  computers	
  and	
  be;er	
  media	
  IO	
  soiware	
  and	
  protocols	
  (MIDI,	
  
Quic...
The	
  dance	
  used	
  the	
  MidiDancer	
  system	
  to	
  allow	
  the	
  performer	
  to	
  control	
  the	
  
generaV...
h;p://www.mulleras.com/miniatures/e_accueilmin.html	
  (1998	
  -­‐	
  2001)	
  
-­‐	
  Phase	
  1	
  real	
  ...	
  virtu...
h;p://www.arts.rpi.edu/~bahnc2/acVviVes/SSpeaPer/pikapika.htm	
  
h;p://www.nime.org/2003/curVs.html	
  
(SOUND)	
  Pikapi...
h;p://troikaranch.org/vid-­‐surf.html	
  (start	
  1:50)	
  
I	
  interned	
  with	
  Troika	
  Ranch	
  in	
  2001/2.	
  ...
Body	
  projecVon	
  technology	
  by	
  buero+staubach	
  Berlin	
  (design	
  firm),	
  with	
  André	
  
Bernhardt	
  (g...
h;p://ole.kristensen.name/works/body-­‐navigaVon/	
  
We	
  used	
  Processing	
  for	
  the	
  infrared	
  blobtracking	
...
h;p://lostwax.org/work/blinking-­‐2/	
  (start	
  3:40)	
  
Usually,	
  Luke	
  does	
  the	
  responsive	
  audio/music	
...
(Start	
  around	
  41)	
  
h;p://lostwax.org/work/parVcular-­‐2/	
  
Also	
  working	
  with	
  Lostwax,..	
  
21	
  
h;p://www.frieder-­‐weiss.de/works/all/Kylie.php	
  (SOUND)	
  Weiss	
  is	
  using	
  his	
  EyeCon	
  
sw	
  to	
  make	...
In	
  a	
  huge	
  science	
  museum	
  planetarium	
  dome	
  with	
  a	
  very	
  dim,	
  std	
  office	
  projector	
  fo...
Provide	
  bg	
  texture/light	
  when	
  dance	
  is	
  featured.	
  Don't	
  dis-­‐orient	
  the	
  dancers	
  (save	
  ...
2010	
  Be	
  Here	
  Now	
  Ensemble	
  
	
  
25	
  
"Hairline	
  Cracks"	
  being	
  performed	
  at	
  ImageMovementSound	
  FesVval	
  2005.	
  Onstage:	
  
Juanita	
  Suar...
Free	
  soiware?	
  Camera	
  +	
  generated	
  animaVon	
  mix?	
  Programming?	
  
27	
  
Not	
  about	
  flexing	
  pixel	
  muscles.	
  What's	
  an	
  appropriate	
  way	
  to	
  convey	
  the	
  story?	
  	
  ...
VVVV,	
  Processing,	
  PureData,	
  Open	
  Frameworks,	
  and	
  raw	
  code	
  are	
  free.	
  Any	
  
hardware/cameras...
30	
  
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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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Motion with Motion: survey of dance + video performance (Captivate Conference '13)

  1. 1. Going  to  show  a  LOT  of  performance  video  snippets,  some  grainy,  some  not…   1  
  2. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 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. 13. rise  of  faster/smaller  computers  and  be;er  media  IO  soiware  and  protocols  (MIDI,   QuickTime,  Macromedia  Director,  etc)   13  
  14. 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. 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. 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. 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. 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. 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. 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. 21. (Start  around  41)   h;p://lostwax.org/work/parVcular-­‐2/   Also  working  with  Lostwax,..   21  
  22. 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. 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. 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. 25. 2010  Be  Here  Now  Ensemble     25  
  26. 26. "Hairline  Cracks"  being  performed  at  ImageMovementSound  FesVval  2005.  Onstage:   Juanita  Suarez,  Stacy  Poynger,  and  Elouise  Oyzon.     26  
  27. 27. Free  soiware?  Camera  +  generated  animaVon  mix?  Programming?   27  
  28. 28. Not  about  flexing  pixel  muscles.  What's  an  appropriate  way  to  convey  the  story?     28  
  29. 29. VVVV,  Processing,  PureData,  Open  Frameworks,  and  raw  code  are  free.  Any   hardware/cameras/projectors  involved  are  not   29  
  30. 30. 30  

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