By Maaike Bleeker
How can quite a few applied sciences, from the extra traditional to the very new, be used to archive, percentage and comprehend dance circulation? How can they turn into a part of new methods of making dance? What does this let us know concerning the ways that expertise is a part of how we make experience and imagine?
Well-known choreographers and dance collectives together with William Forsythe, Siohban Davis, Merce Cunningham, Anne Teresa De Keersmaeker and BADco. have initiated initiatives to enquire those questions, and in so doing have inaugurated a brand new period for dance documents, schooling, study and construction. Their paintings attracts recognition to the intimate dating among the applied sciences we use and the ways that we predict, understand, and make feel.
Transmission in Motion examines those impressive initiatives ‘from the inside’, proposing in-depth analyses by way of the practitioners, artists and collectives keen on their improvement. those experiences are framed by means of scholarly mirrored image, illuminating the importance of those tasks within the context of present debates on dance, the (multi-media) archive, immaterial cultural background and copyright, embodied cognition, schooling, media tradition and the information society.
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Additional resources for Transmission in Motion: The Technologizing of Dance
They are unstable and peculiar objects of study pointing toward and oscillating between various positions of interest and attention. Unstable and peculiar, yet timely and most relevant with regard to how they make space for investigations that engage with fundamental transformations in practices of capturing, storing, and transmitting information. Many of these projects raise questions or provide answers beyond the field of dance. They explore new approaches to organizing large amounts of digital material, of connecting human ways of searching and organizing to computer and computational logic, and of connecting the moving body to the logic of the new, digital archive.
The development of Replay seeks to afford active ways of engaging with the materials available by means of, among others, virtual scrapbooks, which allow users to collect and reflect on their searches. Similarly the Digital Dance Archives aim to enhance user interaction. The project was designed to encourage students and artists to create their own “scrapbooks” of images as a research repository arranged into folders, displayed, tagged, annotated, 6 Maaike Bleeker and Scott deLahunta stored, and shared (74).
Davies has begun to collect and digitize far more of her process material than before to include in the Replay framework. McGregor’s Choreographic Language Agent project is also one that has moved through several iterative stages over a period of a decade; imagined at the outset was that engagement in making creative tools for dance should produce new insights into that process. What was 12 Maaike Bleeker and Scott deLahunta unforeseen was that the collaborative relationships with the scientists would generate a “rich landscape of concepts, vocabulary, descriptions and models” (109); and as such a valuable collection of non-digital tools for understanding and transmitting choreographic practice.