Moving Still: Mediating Yvonne Rainer's "Trio A"

Lambert-Beatty, Carrie

doi:10.2307/779141

Cited by 39 publications

(4 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Innovation in any discipline is often associated with disorientation of existing patterns; here it is specifically new movement patterns that help express a greater variety of ideas. Moreover, the philosophy embodied by her work [26] informed minimalism in other art forms like fashion, music, and theater [27,28].…”

Section: Choreography As Body-based Researchmentioning

confidence: 99%

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

LaViers

Cuan²,

Heimerdinger

et al. 2018

Arts

View full text Add to dashboard Cite

As robotic systems are moved out of factory work cells into human-facing environments questions of choreography become central to their design, placement, and application. With a human viewer or counterpart present, a system will automatically be interpreted within context, style of movement, and form factor by human beings as animate elements of their environment. The interpretation by this human counterpart is critical to the success of the system's integration: "knobs" on the system need to make sense to a human counterpart; an artificial agent should have a way of notifying a human counterpart of a change in system state, possibly through motion profiles; and the motion of a human counterpart may have important contextual clues for task completion. Thus, professional choreographers, dance practitioners, and movement analysts are critical to research in robotics. They have design methods for movement that align with human audience perception; they can help identify simplified features of movement that will effectively accomplish human-robot interaction goals; and they have detailed knowledge of the capacity of human movement. This article provides approaches employed by one research lab, specific impacts on technical and artistic projects within, and principles that may guide future such work. The background section reports on choreography, somatic perspectives, improvisation, the Laban/Bartenieff Movement System, and robotics. From this context methods including embodied exercises, writing prompts, and community building activities have been developed to facilitate interdisciplinary research. The results of this work are presented as an overview of a smattering of projects in areas like high-level motion planning, software development for rapid prototyping of movement, artistic output, and user studies that help understand how people interpret movement. Finally, guiding principles for other groups to adopt are posited.

show abstract

Section: Choreography As Body-based Researchmentioning

confidence: 99%

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

LaViers

Cuan²,

Heimerdinger

et al. 2018

Arts

View full text Add to dashboard Cite

show abstract

“…In its sudden, fleeting sense of presence, dance is haunted by ghosts. Spectres of virtual, ideal or imagined future articulations, and obvious references to the archive of renowned dances and celebrated performances of the past, are conjured with each new movement (Lambert, 1999; Lepecki, 2006; Narvaez, 2006; Rainer, 1968; Schneider, 2013). While haunted by ghosts, dance is full of material entanglements – mental images mixed with muscle memory, mimesis, training, the performance of repeated embodied acts and their variations.…”

Section: Entangled Practices Between Dance and Digital Mediamentioning

confidence: 99%

Dancing with and within the Digital Domain

Ravetto‐Biagioli

2021

Body & Society

View full text Add to dashboard Cite

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving of dance as a tangible process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated.

show abstract

“…Dance is often described as haunted by its own ephemerality: by the impossibility to realize a perfect imagined embodiment; by the images of past iconic gestures made by famous choreographers and dancers; by the traces of earlier embodiments, training, and the limitations of those bodies that perform it (Lambert, 1999;Lepecki, 2006). The complexity of movement, and its sudden disappearance, makes dance impossible to capture in its embodied liveness, or even difficult for an audience to see (Rainer, 1968).…”

mentioning

confidence: 99%

Whose Dance Is It Anyway?: Property, Copyright and the Commons

Ravetto‐Biagioli

2020

Theory, Culture & Society

View full text Add to dashboard Cite

Until recently, dance was not considered to warrant copyright protection because it existed only as a live performance that was not fixed in a ‘tangible medium of expression’. Not being an object, it could not be property. But the more we try to fold dance into existing modes of copyright and conventional notions of property, the more it resists, upsetting the core assumptions of Locke's social contract theory. Legal scholars argue that the expansion of copyright protection shrinks the public domain. While copyright has become more important for dancers and choreographers who wish to control the appropriation of their work that is now made available to millions of end-users online, it also potentially restricts them from engaging in a dialog with other dancers or building on inspiring dance moves across communities. This paper investigates notions of property that rely on both the commons and individual personhood in the context of dance.

show abstract

Moving Still: Mediating Yvonne Rainer's "Trio A"

Cited by 39 publications

References 0 publications

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems

Dancing with and within the Digital Domain

Whose Dance Is It Anyway?: Property, Copyright and the Commons

Contact Info

Product

Resources

About