Post on 06-May-2015
description
Going to show a LOT of performance video snippets, some grainy, some not…
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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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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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"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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(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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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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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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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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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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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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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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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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rise of faster/smaller computers and be;er media IO soiware and protocols (MIDI, QuickTime, Macromedia Director, etc)
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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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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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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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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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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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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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(Start around 41) h;p://lostwax.org/work/parVcular-‐2/ Also working with Lostwax,..
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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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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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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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2010 Be Here Now Ensemble
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"Hairline Cracks" being performed at ImageMovementSound FesVval 2005. Onstage: Juanita Suarez, Stacy Poynger, and Elouise Oyzon.
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Free soiware? Camera + generated animaVon mix? Programming?
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Not about flexing pixel muscles. What's an appropriate way to convey the story?
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VVVV, Processing, PureData, Open Frameworks, and raw code are free. Any hardware/cameras/projectors involved are not
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