Re-making, re-choreographing and re-recording

Through practice I am interested in examining how the processes of re-making, re-recording and re-choreographing, can reveal tensions between temporal regimes. My work explores the impact entangled technologies are having on artistic disciplines and I am interested in the politics between digital and physical spaces and places.

McGuire (1998) highlights connections between montage and “Mise-en-abyme effects” (p68) montage creates distinct visual forms which have the power to project the spectator into the picture. I am interested in new places created by technologies mise-en-abyme like effects.

I am interested in re-choreographing movement and sending material into a technological Abyss. Into the abyss derives from the French conception mise-en-abyme, a “series of apparently endlessly overlapping, enclosed networks of conceptual or structural spaces which form a kind of labyrinth leading to a shifting, ever-unattainable nucleus or centre” (Cardwell, 1989 p. 271)

How does material move through itself? This study embraces technology and the increasing proliferation of, and exposure to screens, as such this project is interested in a kind of medium un-specificity. The methodology acknowledges that the data is re-used and not contained in any one place, it is shifting, re-staged and re-performed. The methodological implications of this study require a reciprocity and dialogue to occur between many disciplines. It challenges universalisms and it implies a plurality of knowledge in this global knowledge society (Ludden, 2003).

Parody is a valuable tool, which can help push content through different value systems. The UK amended the Copyright, Designs and Patents Act 1988 (CDPA) in October 2014 to allow fair dealing with a copyright work for the purpose of caricature, parody or pastiche (section 30A). The European Court of Justice has held that the parody exception is an autonomous concept of EU law and so should be interpreted uniformly throughout the EU. (Lagarde, et al, 2016). One area I am exploring through practice is the power that has been afforded to parody by law.

I am specifically interested in the relationship between film and still image. If we consider Virilio’s (1977) theory that the logic of acceleration lies at the heart of the organization and transformation of the modern world then the speed at which entertainment and distractions operate at, are happening faster and faster. How is this affecting film space in the digital age, and how is this speed affecting the boundaries of artistic disciplines online? Twitter demonstrates how programmes and films are being shared and exhibited. Cinema is being reduced to animated graphics interchange formats so it can be consumed at faster speeds. As content glides through digital platforms, disciplines are eroded and new spaces formed, from these moments that surface on various platforms. Material is malleable and re-makeable.

– Carol Breen, PhD student C-DaRE

 

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looping – claire ridge

In this project I am exploring the potential of looping in a performance practice. This includes looping as copying, recording, remediating and creating technological loops through live feed, recorded film and bodies in performance. I ask what might appear through these processes? How might looping operate as mining or excavating images for their alternative meanings or histories?

This sits within a wider context where we have become used to viewing images in non-sequential ways. Post-internet, we access images though scrolling, switching tabs, clicking on links in YouTube that appear like wormholes, and finding images and themes that return again and again through algorithm feeds. These developments in late-capitalist image-based culture open up new possibilities for what an image can do. I am particularly interested in the potential of post-internet strategies of looping in performance, for rupturing the construct of linear time and making multiple temporalities felt in the present.

I have been returning to certain images and exploring what appears when I put them through systems of looping. At this point in the project I am interested in exploring more deeply the images I use, and therefore what different histories and meanings they drag into the present.

I am also looking at how I loop back on my own practice differently. This involves re-translating and repurposing my work through different iterations in order to explore how meanings may accrue and coagulate through this process.

– Claire Ridge

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Screenshot by Claire Ridge.

 

spatial counterpoint(s)

Spatial Counterpoint(s) is a short film documenting a multidisciplinary site-specific performance project encompassing choreography, architecture, performative games, storytelling, audience engagement and crowd movement especially designed for the city of Paphos.

The project Spatial Counterpoint was a bid book project for the European Capital of Culture – Pafos2017, in the context of the formal programme of events in Paphos, Cyprus, during the year 2017. It was designed in 2012, developed in 2015–2017 and was materialised and performed in July 2017.

The theme of the project focused on the different stories that seemed to be hidden in every space, house, square and street of Paphos. The town of Paphos and its urban fabric has been revamped, due to the preparations for holding the title of European Capital of Culture, thus, creating a hybrid space, a utopian Paphos, with fragmented memories that still seem to haunt it. Selected places in the town centre became the source of creation for a group of professional artists from various disciplines and different countries who came together to blend their knowledge and artistry in contemporary site-specific dance performances. Each performance had the target to promote the idiosyncrasies of each specific location, creating a stage that hosted works inspired from itself and invited the audience to participate, on a trail of performative games through “Ktima” the city centre of Paphos.

– Erica Charalambous, PhD Dance Digitisation Research student C-DaRE

Spatial Counterpoint(s) short film: https://youtu.be/dMthI7VKpuI

You are our Body (short documentary on Spatial Counterpoint Project): https://www.youtube.com/watch?v=asAIpthbrVc

Spatial Counterpoint Teaser: https://www.youtube.com/watch?v=ifw7jJLow_Y

Facebook Teaser: https://www.facebook.com/czach17/videos/10155655261098184/

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Image: Andreas Constandinou – Fotokinisi

performing empowerment – hetty blades

I am currently undertaking fieldwork in Sri Lanka as part of the AHRC/ESRC funded project, Performing Empowerment. The project team is led by Dr Lars Waldorf (University of York) and includes Adam Benjamin (Plymouth University) and me, along with our project partners; VisAbility, Church of the American Ceylon Mission, Swamy Vipulananda Institute of Aesthetic Studies (Eastern University) and University of Peradeniya. Our aim is to evaluate VisAbility’s model, which combines what they refer to as ‘mixed-abled’ dance and rights awareness workshops as a way of empowering people with (conflict-related) disabilities to exercise their rights. We are using a range of methods, including interviews, self-assessment, observation, and practical tasks to try and understand how the workshops impact on the self-esteem, self-confidence and rights knowledge of the participants. This first data set will be compared with information from the second round of workshops and data collection in December 2017- January 2018 in order to assess the long-term impact of this work. To find out more please look at our website and follow us on social media.

Website: https://performingempowerment.wordpress.com
Twitter: @perfempowerment
Facebook: https://www.facebook.com/perfempowerment

– Hetty Blades

WhoLoDancE

WhoLoDanceE is a three year project (January 2016-December 2018) Research and Innovation Action, under the framework of ICT2015 of Horizon 2020 aiming at designing and developing whole body interaction tools to support dance learning. The consortium of WhoLoDanceE consists of a) Technical Partners, b) Four Dance Expert partners from different countries (UK, Spain, France and Greece) with a mixed profile of Dance Education institutions and choreographing companies, covering four different dance genres (ballet, contemporary, flamenco, and Greek folk). The aim of the project is to create new technologies for capturing and analyzing dance movement to facilitate whole-body interaction learning experiences for a variety of dance genres. Working together we will develop a protocol for the creation and/or selection of dance sequences drawn from different dance genres for different teaching and learning modalities. Our initial work has involved designing a methodology for selecting the appropriate shots for motion capturing, to acquire kinetic material, which will provide a satisfying proof of concept for Learning scenarios of particular genres. The emergence of virtual reality applications and human-like interfaces has given rise to the necessity of producing realistic models of the human body.[1] The WhoLoDancE project is bringing together a team of expert technologists, developers, researchers, dancers, artists and 2D and 3D model designers to develop a teaching-learning-creative digital tool that can allow the user to employ a variety of state-of the art methods to facilitate in the learning and teaching of dance. The dancing human body is at the core of this EU-Funded Horizon 2020 research project and is allowing programmers to discuss modelling techniques while also pulling in expert teachers, dancers and choreographers.

Project team: Sarah Whatley, Ruth Gibson, Karen Wood, Rosa Cisneros.

Images courtesy of Giulio Bettini.


  1. Sarris, N. and Strintzis, M. (2005). 3D modeling and animation. Hershey: IRM Press.  ↩