Images from "Entity"
Concept, Direction & Choreography: Wayne McGregor
Music: Joby Talbot & Jon Hopkins
Set & Costume Design: Patrick Burnier
Lighting Design: Lucy Carter
Video Design: Ravi Deepres
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REPOSTED FROM OSUDANCE WEBSITE:
Collaboration with William Forsythe, Norah Zuniga Shaw and Maria Palazzi.
Renowned choreographer William Forsythe has teamed with OSU’s Department of Dance and the Advanced Computing Center for the Arts and Design (ACCAD) to research and develop a new interactive online learning environment for one of his exceptional choreographic works, One Flat Thing, reproduced (OFTR).
The project analyzes Forsythe’s choreography systems as templates for creative problem solving that can be applied to other practices and fields. For instance, utilizing the multiple visual literatures provided on the site, an architect, mathematician or engineer might encounter applications that bring their own practices into new perspective. At the heart of this creative enterprise with interactive digital media is Forsythe's desire to have dance seen as a field of activity that has broad impact and to reinforce the fundamental idea that creative leaps in all fields often come about from the transference of concepts from one field to another. The web project's intent is not to have users make a virtual "Forsythe-like" dance, but, to be a catalyst for creative analysis in dance and in other areas of practice.
Co-Creative Directors Norah Zuniga Shaw (Director of Dance and Technology) and Maria Palazzi (Director of ACCAD) have been working closely with Forsythe and his company since 2005 to research OFTR and create rigorously analytical yet evocative scorings of its choreographic structures. More than 15 graduate students in design, computer science, dance, and visual art have taken part in the research and production process. The project is currently in the midst of the 15-month production timeline with a projected launch at the Wexner Center in January of 2009.
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This ground-breaking work of scholarship explores convergences
between performance and science through an investigation of new
technologies that drive computer-mediated, interactive art. In
tracing the evolution of digital performance within a particular
history of engineering and theatre that now expands to a wide range
of practices in dance, design, architecture, fashion, games, music,
robotics, telematic performance, and "post-production"-theatre, the
author focuses on interactive performance, installation and Internet
art.
Internationally known practitioners and their works are introduced
to formulate provocative ideas on computation, complexity, emergence
and self-organizing systems in contemporary peformance which are
inspired by biology and biotechnology. Wide-ranging and richly
illustrated essays uncover shifts that have occurred globally in the
aesthetic understanding of performance within computer-augmented
virtual and networked environments.
The work of key artists, theatre/dance companies, and laboratories
demonstrates how scientific concepts have influenced digital
performance, and how performance relates to neuroscience, biology
and the life sciences. Challenging common assumptions about
embodiment and the digital, this study addresses how artists use
artificial intelligence, machine learning, and sensing technologies
not only to enhance the range of expression and visualization, but
to bridge the gap between the work and its user.
Paperback: 332 pages
Publisher: PAJ Publications/New York (December 2008)
ISBN-10: 1555540791
ISBN-13: 978-1555540791
List Price $ 24.95
http://people.brunel.ac.uk/dap/Datech.html
Johannes Birringer is a choreographer and media artist; he directs
the Centre for Contemporary and Digital Performance at Brunel
University, West London. He is author of Theatre, Theory,
Postmodernism; Media and Performance: along the border; Performance
on the Edge: Transformations of Culture, and co-editor of Dance and
Cognition.
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