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Project update 4

Tiffany Anne

Thursday, Apr 21, 2016 - 07:51:29 am

@ Tiffany Rosete

Completing the costume

This is a video of the electronics on the skirt. The wires were still loose so it only worked on occasion or when I touched a part of the skirt.


Minor tweaks were made after this to ensure the connection was secured. Also, a layer of hot glue was put over the wires to prevent short-circuiting and to insulate Read more →

Categories: Final Project | Research | Touch
Thanks for sharing your work and process on the movement. I am curious to know how all the elements of costume, wearable, movement, and music come together for you. I would suggest that you explore these relationships in your final hyperessay in order to synthesize the experience. I thought the lighting of your wearable was very effective in the workshop/performance and really stood out as an interesting element in the video.

Project Update 3

Tiffany Anne

Thursday, Apr 21, 2016 - 07:07:57 am

@ Tiffany Rosete

Continuation of costume design

Testing out the boning on the mannequin with Gladys’s dress. Interestingly, the boning complements her costume rather well.

Exploring different possible designs. Black tape was first used to secure the joints together.

Final design of boning with skirt. After determining the design, I sewed the joints together to make it more sturdy and seamless.

Next, Read more →

Categories: Final Project | Research
Tags: fashion | sound | Touch
Good update! I am curious how the sound propelled your movement. Did it put you in a certain mood? Did its texture make you feel like moving as though swimming or moving with the wind? Music has a powerful effect on the body and it is interesting to explore this relationship particularly in the context of dance.

Research Critique: Glitch Aesthetics

Yuhao Zhang

Thursday, Apr 21, 2016 - 12:59:27 am

@ Media and Performance by YUHAO ZHANG

Glitch art is the aestheticization of digital or analog errors, such as artifacts and other “bugs”, by either corrupting digital data or by physically manipulating electronic devices (for example by circuit bending).

In recent years it has found a central place in contemporary media art, particularly via the Internet where emergent low-resolution glitch forms and other so-called “accidents” of artifacts are Read more →

Categories: Research
Yuhao, you ask a difficult question: whether to remain nostalgic for dying technologies or to move forward as a progressive in search of the new. I can see how an engineer might have a different perspective than an artist. How do you situate yourself in this argument as an engineer?

Research Critique: Virtual Bodies in the Third Space

Yuhao Zhang

Wednesday, Apr 20, 2016 - 05:45:27 pm

@ Media and Performance by YUHAO ZHANG

A virtual body is the state of being when inhabiting virtual reality or a virtual environment. The third space refers to a shared electronic social space where the physical and the virtual are blended. This topic is enigmatic and has been open to dispute.

Paul Sermon’s Telematic Dreaming (1992) turns a bed into the support of Read more →

Categories: Research
Interesting observations from your engineer perspective. Whereas we think of virtual connections as lacking in emotional contact, there are ways of counter-balancing and injecting intimacy into the virtual embrace. This is of course also the theme of Touch. In your final hyperessay, you might want to use Telematic Dreaming to support or even argue questions of intimacy and human contact in the Touch project.

Research Critique: Dance Performance

Yuhao Zhang

Thursday, Feb 25, 2016 - 05:53:42 pm

@ Media and Performance by YUHAO ZHANG

Eiko & Koma: My Parents

Eiko Otake and Takashi Koma Otake, generally known as Eiko & Koma, are a Japanese performance duo. Since 1972, Eiko & Koma have worked as co-artistic directors, choreographers, and performers, creating a unique theater of movement out of stillness, shape, light, sound, and time.

In post-war Japan, nature was part of the life and life was simpler Read more →

Categories: Research
Statements of Meaning: Yuhao, your thoughts about the kind of performances E & K create are well articulated here because you take into account the multiple elements in performance experience that entice the senses of the audiences. Good job.: "creating a unique theater of movement out of stillness, shape, light, sound, and time." Additionally you write: "The performer’s face, her hair, the soundtrack, the camera angel, the special effect, her dance in the small box trying to fight against gravity made it one of the most strangely fascinating things I have seen in a while." This demonstrates that you are able to explicate how multiple elements helped to make your viewing experience "one of the most strangely fascinating things I have seen in a while." Question for the artist: How might the observations you made above ("stillness, shape, light, sound, and time.") be integrated into your creative process as you begin to create the performance piece in your imagination? What ways can you translate images from your imagination to the dance movement and physical materials you will create for the performance? How many ways can you express "strange" through gestural movement?

Research Critique: Dance Performance


Thursday, Feb 25, 2016 - 02:08:50 am

@ Charlene

Eiko & Koma: My Parents

Being a dancer only needs a body and nothing else. I thought that would be the least materialistic way of living. – Eiko

Eiko and Koma have a unique way of dancing that combines stillness, shape, light and sound. Both were born during the post-war era of Japan and lived in simple times where technology Read more →

Categories: Research
Statements of meaning and questions for the artist: Charlene, you write: "The minimal, ragged cloths of earthly tones also help them blend in with the earth." I wonder how your costume might consider the environment you perform with/interact with? "Eiko and Koma’s dance moves appear to make them seem as if they are part of nature itself. " Charlene, how many ways can you use a gesture to express "nature" ? You also write: "Upon further research, I discovered that it belonged to a particular genre of dance known as Screendance (or Videodance)." Great work! Ohad Naharin is a notable artist from Israel. Then you wrote: "sound is notable as well as it features electro-orchestra music that is hard hitting and seemingly jarring at first but then forms a particularly unique style when accompanied by the dance movements." This comments demonstrate your understanding on the relationship between sound and movement. How does your awareness of these two elements relate to your creative making process for your costumes and the movement you will create?

Research Critique: Dance Performance

Feliciana Natali

Wednesday, Feb 24, 2016 - 04:00:58 pm

@ Feligood

Eiko & Koma, My Parents

In this choreography, the movements are explained with a voice over/narration: it depicts the life of both Eiko and Koma, who seek social change and self-aspiration by being dancers. In their gestures and movements, they always stick together and move in response to one another: as the female rotated her body, the head of the male Read more →

Categories: Research
I like your description on how the rotation of the camera/ screen creates an ‘anti-gravity’ effect. :D
Statements of meaning/questions for the artist: I love that you have such strong opinions and that you voice them. Feli, you write:"as the female rotated her body, the head of the male followed; as one of the hand hit, the hand of the other partner hit as well." This shows that you have an eye for visual detail. You write: "Maybe, the amount of those other ‘ingredients’ can be reduced and let the dance speaks for itself." Yes, I agree with you here. The video is not a video that captures the dance movement so much as it splices footage together with historical information to give you context within which the artists created and were influenced to make...Here is a link to a video of their movement. Feli, you write: "In my opinion, the dynamism of the whole performance lies not in the choreography, but in the video as a whole" What does dynamic mean for you? You write: "The dance in the red dress, when the screen is upside-down, looks like she is standing on the ceiling perfectly. This performance, in my opinion, is an excellent example of using ‘the box’ to create variation and awesomeness." What is the relationship between "the box" and the story you will tell through dance in the 3rd space?

Research Critique: Dance Performance

Ong Xin Hong

Wednesday, Feb 24, 2016 - 03:14:31 am

@ Oxhrene

Eiko and Koma: My Parents

Gestures & movement:

@ 0:54 – A lady grabbing onto twigs placed against her torso with her arms tense and trance-like facial expression.

@ 1:07 – “Land” – twisting of body against the ground/ in a writhing movement.

@ 4:01 – crab walking with elbows crossed between two people, then falling and trying to stand up again Read more →

Categories: Research
This is great
I have just entered OSS for the first time. I look forward to reviewing your work and leaving you more feedback at a later time.
Statements of meaning: Rene, I love your use of descriptive language: "Two people who appear half-dressed squirming like worms or slithering like snakes on the ground, where the ground is dirt and soil" I can see this image in my head. Perhaps you could recreate it in your own way? Rene, it is fantastic that you located another source to add to your exploration of Eiko and Koma's work. Please bring this wonderful sense of curiosity to our creative process! Well done.: "From page 104 of Eiko and Koma: Dance Philosophy and Aesthetic by Shoko Yamahata Letton, Some mountains are males, and others are females. These mountains make love at night and they separate before we know what happened. – Eiko" Rene, you have made observations of key aspects that relate to aural/visual settings in dance and performance. Perhaps you can play with these ideas below when you make movement/costumes: "Sound: Crickets, birds chirping, sounds of nature, a wind instrument playing in the background, a person narrating at a time Speed: Slow motion Dynamics: Dramatic changes in actions and expressions," Rene, here you demonstrate understanding that pedestrian movements and human gestures are also considered dance: "Liz Aggiss interacts with the camera and looks at us with a confrontational gaze. She made several unrefined gestures such as swiping her nose @ 2:08 and cleaning her teeth with her fingers @ 2:09, then spitting at the camera (at us) @2:18." Questions for the Artist: What is the relationship between landscapes on camera and movement in the 3rd space? How many ways can you translate "anxiety" through gestures?
In my opinion, landscapes on camera can be manipulated through movement in such a way that they are: rotated (by rotating the camera), shifted (moving the camera lens away from/ towards one object/ subject), framed (making use of the rectangular viewing screen that receives image from the camera to crop the landscape and frame it so that we see what the director wants us to see), scaled (the zoom and magnify tool of the camera and up close and far away placement of the camera provides us with various depth of the image of the landscape) and contrasted in focus with a given object (the focus tool of the camera allows us to focus on an object/ subject within the frame while blurring the landscape, or similarly the other way round). There are many ways to translate 'anxiety' through gestures, such as grabbing hair, short and fast glances, curling of body into a fetal position, clenching teeth, exaggerating small habitual actions (eg. scratching head)...I cannot think of any more in the moment haha.

Research Critique: Dance Performance

Tiffany Anne

Tuesday, Feb 23, 2016 - 07:08:22 pm

@ Tiffany Rosete

Video 1: Eiko & Koma, My Parents

About Eiko and Koma Nature is Eiko and Koma’s inspiration. They consider human body as a landscape and landscape as an extension of the body. They want to dance about the most elemental human conditions within an archaic landscape. Eiko and Koma believe our nameless, naked and vulnerable self is our commonality as people.

Movement They make Read more →

Categories: Research
Statements of meaning and questions for the artist: Tiffany, you wrote: "It seemed like they were being infused into the soil." This is a wonderfully evocative expression of what you experienced. What if you created 50 gestures to represent being infused into the soil"...What would that look like? What would you be wearing? Tiffany, you wrote: ".. she is staring at the viewers of the video and connecting with the audience in a more confrontational way." What is the relationship between the performer's gaze and the experience of the viewer? How many ways can you perform into the camera to affect the experience of the viewer? You write: "There were environmental sounds of birds humming, crickets, and possibly other animals. Instrumental sounds were later introduced like sounds of the flute and the drums." Wonderfully keen sense of hearing here. What sounds in your dreams could you recreate using your costume? How would you make movement that makes sound?

Research Critique: Dance Performance

Gladys Loh

Tuesday, Feb 23, 2016 - 03:03:02 pm

@ sleepygladys

Eiko and Koma, My Parents

This piece was created by their son, Shin Otake, serving as a documentary about his parents’ upbringing and forming of relationship in post-war Japan. That period was a time of political strife and disorder. A prime featured piece in the film was “Land”.

“Land” explored the interaction between the human body and nature by merging themselves into Read more →

Categories: Research
Great job Gladys!I agree with your point on foley noises in the motion control performance video. Sound was a product of her movement and it contributed to the visuals.
Yes, Gladys, I agree, very well researched and written. Question: how would you contrast these two works given one uses technology (Motion Control) and the other, while not using technology, is nevertheless a response to the technological upheaval during World War II. Both are very expressive, but using different means: nature vs electronics.
Statements of Meaning: Gladys, your writing here is well articulated and lush as it describes your kinaesthetic experience of the video: "They spread across the floor and slithered, all with gradual movements. In relation to the box, they were moving freely but at the same time it was very controlled in the space and slow, which shows the rootedness of a mountain." Yes, I love this "rootedness" word! Gladys, here you are noting a relationship between sound and movement, and the viewer's experience: "They even used sound to emphasize the piece. The sound of a drum was used to highlight some points, for example heartbeat of the mountain and the birth of a new mountain." This resonates the word flesh for me. How might you integrate this idea into your costume/movement? Here is a video that plays with ways of showing how sound affects movement and the other way around: Gladys, I agree with this statement here: "This piece explored the synergy between the camera and performer. It challenged how the relationship between the Motion Control camera and the dancer, camera and sound, camera and space can be pushed further." What you are describing is actually another genre of art called Screendance not unlike what we are experimenting with in the 3rd space. Here are a few Screendance videos that might interest you. They play with angles and this "synergy" you write about. Questions for the Artist: Gladys, how may different ways can you, through gesture, animate "a sense of entrapment"?