The Active Space environment is an interactive
physical space designed to engage participants in a dialog
of mutual influence between movement, visual imagery and sound.
The Active Space environment is intended to be an "instrument"
that is "played" by its inhabitants, in which imagery
and sound are produced in direct, immediate response to how
and where people move.
Space research includes work with Digital Video and Image Processing
work in this area is investigating the potential for developing
a grammar for the use of digital
imagery specifically applied to live dance performance. The
purpose of this grammar is to make a contribution to the language
used to discuss the use of film and video technology for dance performance.
The focus of my research with dance and digital
video is on how digital imagery can be used as component of
live dance performance.
is my contention that recent developments in digital image technology
has opened up the potential for creating moving imagery that transcends
the temporal montage of traditional film. The use of digital imagery
technology has resulted in a the addition of a new type of shot
to the grammar of video/film. This is the "processing
shot," which results from the application of digital techniques
to create moving picture material that may or may not be derived
from camera and editing shots. I begin with the human form, the
dancer, yet the resulting imagery (which is done in collaboration
with visual artists) enables the evolution of a new visual aesthetic
of flow and transformation, which can be related to the spatial
and temporal continuum of dance. Projecting this imagery
as part of a dance opens up new possibilities for integrating
moving images with performance.
am using the processing shot as an integral part of the development
and presentation of multimedia performance. In this approach, the
digital imagery is not superimposed on the performance; rather the
choreography and digital processing evolve
together as the artwork is created.
thinking about the processing shot and the manipulation of choreography,
I am thinking about the layering
of dance imagery, both live and technologically enhanced. The use
of camera, lens, computer, software and filters contributes
to the way in which dance is displayed, exposed and can articulate
perspectives on choreography such as inside, close up, slowed down
in time, repeated, multiplied, and reversed.