'The design of interactive dance is a challenging endeavor because both dance and computing are in themselves full of complexity' (Cherry, Gonzalez & Latulipe, 2012)
Rubidge (2001) discusses the ever-changing experimentation between performer and technology, with particular focus on dance practice. She explains that 'digitally mediated artworks are developed in a system which is intrinsically non-linear' Rubidge (2001), and audiences can often have problems with this diverting from the traditional performance structure.
The notion of action-reaction is an interesting concept in performance making; the idea that something in a piece (lighting, audio, the physical body, video etc.) can affect the direct reaction of another component within the piece (again, lighting, audio, the physical body, video etc.). It creates an inter-connectivity within a piece, making it more sophisticated, rather than having components separately, not collaborating with each other.
'In a performance work which is generated in a three dimensional, electronically sensitized environment, the interactors appear to create the environment in which they perform. They become simultaneously performer and choreographer, composer and designer, co-authors of the work- or so it is claimed' (Rubidge, 2001, p.5). This is an excellent analogy of my prototype, as components work together, rather than individually to create a unique performance.
Although it is in our nature for action-reaction to occur in daily life, reacting to events, conversations etc. inputting the concept into a performance between technologies becomes significantly more experimental and exciting.
Particularly in contemporary work, we must remember that the 'performer' is no longer considered to solely be the human present on stage. It can be multiple technological, or indeed not, elements that act and react together. Burrows (2010) comments on the way that with familiar things, sometimes they are recognized so strongly that 'we don't notice anything else at all' (p:32), so there is a potential that the use of purely the physical body will distract from other, equally valid performers.
Mark Coniglio, founder of the interactive dance company Troika Ranch uses dancers movements to control media elements, he advises that 'dancers should have some room for improvisation in order to take full advantage of the interactivity' (Cherry, Gonzalez & Latulipe, 2012), making it a collaborative process between body and machine.
Rubidge (2001) discusses the ever-changing experimentation between performer and technology, with particular focus on dance practice. She explains that 'digitally mediated artworks are developed in a system which is intrinsically non-linear' Rubidge (2001), and audiences can often have problems with this diverting from the traditional performance structure.
The notion of action-reaction is an interesting concept in performance making; the idea that something in a piece (lighting, audio, the physical body, video etc.) can affect the direct reaction of another component within the piece (again, lighting, audio, the physical body, video etc.). It creates an inter-connectivity within a piece, making it more sophisticated, rather than having components separately, not collaborating with each other.
'In a performance work which is generated in a three dimensional, electronically sensitized environment, the interactors appear to create the environment in which they perform. They become simultaneously performer and choreographer, composer and designer, co-authors of the work- or so it is claimed' (Rubidge, 2001, p.5). This is an excellent analogy of my prototype, as components work together, rather than individually to create a unique performance.
Although it is in our nature for action-reaction to occur in daily life, reacting to events, conversations etc. inputting the concept into a performance between technologies becomes significantly more experimental and exciting.
Particularly in contemporary work, we must remember that the 'performer' is no longer considered to solely be the human present on stage. It can be multiple technological, or indeed not, elements that act and react together. Burrows (2010) comments on the way that with familiar things, sometimes they are recognized so strongly that 'we don't notice anything else at all' (p:32), so there is a potential that the use of purely the physical body will distract from other, equally valid performers.
Mark Coniglio, founder of the interactive dance company Troika Ranch uses dancers movements to control media elements, he advises that 'dancers should have some room for improvisation in order to take full advantage of the interactivity' (Cherry, Gonzalez & Latulipe, 2012), making it a collaborative process between body and machine.
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