I worked for the past week together with Fazle Shairmohamed in preparation for and then within the TaPRA conference in Bristol. We presented the silent lecture Read. Move. Implicated. This lecture is the place for us to investigate the impact of the movement of reading on spectators. (My PhD research investigates the movement of writing and the movement of reading in order to better understand their possible impact on the spectator’s qualities of participation).
This presentation in Bristol closes two years of performing this silent lecture in 5 different conferences. Experiments within conferences informed my research about implication as a quality of participation resulting from the movement of reading. Spectators of ‘Read. Move. Implicated.’ contributed to the research by writing with a few words their experience of the movement of reading (that took place during the lecture). Contributions can be read at writingreadingmovement.tumblr.com/post/150395731844/my-lecture-was-about-and-its-title-could-be.
I look at this 5th performance in Bristol as the hinge toward further developments of my research on implication. For the first time, Fazle and I introduced the glossary of inceptions for spectators of lectures; this glossary resulted from the editing of the words given by spectators (bridging content, gathering words). As of today, this glossary aims both at telling what is implication about, and at being the source material for dreaming practices. The dreaming is for this research an approach of the movement of reading, that might further inform the nature of the implication resulting from it.
– Emilie Gallier
Originally published on 14 September 2016 at writingreadingmovement.tumblr.com/post/150396207119/implication
In this stage of my research into dance annotation I am exploring knowledge contribution to the World Wide Web, a space currently dominated by information and conversation, and geared less towards contribution and collaboration. Despite the ubiquity of visual and temporal media, the web privileges text, the originary media of this space. As a means for identifying characteristics and features of a source, annotation also retains literary connotations, whether in the form of a tool enabling users to comment or tag materials they engage with, or as the back end approach that organises, names, and labels. Yet, even for text-based documents, user annotation tools are limited, and current classification standards result in inefficient search and retrieval of inefficient information. In view of these factors, I am considering how, throughout annotation processes, the dance field can mark a meaningful contribution to the web in a way that supports the drive towards interoperability between human and computational agents, yet remains truthful to developing knowledge representations and epistemologies.
Screenshot of the annotation tool Hypothesis in use. Hypothesis provides a layer over existing web pages to enable individual and collaborative annotation
– Rebecca Stancliffe
: Puig, V. (2010) Digital Studies: Issues of organology for individuation in collaboration practices. [online] available from http://www.iri.centrepompidou.fr/wp-content/uploads/2011/02/PatrimoineHumanites.Puig-E1.pdf [08 September 2016]
I’m planning to submit an application to the AHRC responsive mode grant to undertake a practice-informed project that looks at extra-verbal movement related art production as a response to traumatic events and experiences. The project is intended to challenge the field of trauma studies in three ways: 1) It will examine the under-researched way that communities of people respond to trauma through witnessing movement-based performance; 2) It will expand the scope of analysis of traumatic effect to performance as a primary text; 3) And, in focusing on dance as a communicative force, it will articulate new theoretical and practical understandings of the embodied effects of trauma. To do this, I want to will bring together an interdisciplinary team of researchers including: literary theorists, sociologists, historians, performance theorists, and movement practitioners. The historical remit for the project will span from the late 19th to the present day, a period that has witnessed some of the most well-documented examples of violence and suffering. The project will work specifically with what I have called “gendered constellation of trauma” and is intended to open up the exploration of traumatic effect to complex historical, cultural, societal, and kinaesthetic interrelationships. In terms of research design, this will be an eighteen month project divided into three specific phases. The first phase will be data collection. This will be followed by data testing in the form of three site specific performances (The Imperial War Museum, Coventry Cathedral and the Royal Opera House). The project will close with a period of consolidation and further research dissemination.
– Vicki Thoms
We all have a sense of our body in the real world through our proprioceptive capacity – we are experts in movement as we are practised, we have a kinetic sense, but what of this sense of our body in virtual worlds? A core question of my research is how can we cultivate & integrate kinaesthetic intelligence into immersive environments?
One goal is to understand how we may move in and around virtual space, what this means to performance, choreography, the sensing body and audiences. I’m observing shifting perspectives of performance from player to visitor to performer in virtual environments. The research follows how we might transfer kinaesthetic awarenesses to audiences, through visualisations and participatory works. Artworks which involve site- specific installations, live simulations and interactive animations that encourage visitors to explore and experience through play. The aim is to examine whether these awarenesses enhance the immersive experience.
I am interested in figure and landscape, ancient and modern cultural heritage and in the coupling of embodied interaction and digital systems. Exploring playful interaction between physical and virtual ‘bodies’. Developing software to create interactive virtual environments that are kinaesthetically attuned & responsive to different modes of corporeality, offering scope for re-mixing – through consideration of the physically situated and uncultured body meeting the virtual avatar. Translating the physical, organic body across digital platforms extending and augmenting choreography.
My practice questions the role a dancer’s tacit knowledge has to play in the construction of virtual landscapes and human computer interface design. I’m grappling with how we navigate Virtual and Augmented realities and I am using motion tracking and performance capture techniques to study this. As a dance and visual artist at the interface of real and virtual worlds my research asks what do these spaces offer to the experienced performer and what physical spatial encounters and virtual architecture can be created to express this to the layman. To do this I gather together experts from different disciplines to create public art exhibitions and develop new software to examine mixed reality experiences. Performance is important in hypothesis building to investigate and understand more about presence through mediated exploration. There is an idea that the story exists in the experience of place itself not necessarily in a narrative about the place. I draw on experience of place, performing and filming in the field. Expeditions to endangered remote parts of the world including Oceania, Canada, Iceland & the Arctic Circle, has led to an investigation into body and landscape, the notion of space and simulacra and the sublime. I have been preoccupied with different forms of camouflaging MAN A & Summerbranch, the invisible visible and ephemerality of performance which has manifested as a re-materialisation of the digital, Big Bob. Current research investigates how choreography, coding and cultural narratives in New Zealand meet a somatic sensing in an interactive environment.
My current research project compares how people move together within different disciplines of dance, including Latin/Ballroom, contact improvisation, classical ballet, and contemporary styles. Through short-term, creative residencies with professional dance companies, including the Royal Swedish Ballet, Chicago Hubbard Street, Erick Hawkins Dance Company, and The Cambrians, as well as interviews with practitioners including Nancy Stark Smith (contact improvisation) and Vibeke Toft (Dancesport), I’ve been constructing a model of the different modes of partnering to highlight and better understand the practice of physical, visual, and energetic connection. So far, I have been focusing specifically on how biomechanics (such as sequencing, rolling point of contact, and lead/follow) are in tension with aesthetic values (shape/form). I am interested in understanding how this tension impacts core principles in coordinated movement between two or more people.
– Ilya Vidrin
Certain Bird Residency (Vermont, USA) — source material for Empress Archer (featuring Ariel Freedman and Meredith Webster)