Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance
Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance
This thesis constitutes a practice-led research into the integration of digital imagery (video and/or 3D animation) with live choreography in the context of contemporary dance performances. The intention of this research is to identify and rearrange the parameters that are intertwined in the combination of performers and digital projections in order to achieve balance between the two media and restore the artistic validity of the digital imagery in performance. This investigation has been developed through the realization and analysis of the researcher’s own artistic projects, which constituted video (or 3D animation) works, developed in, and with, live choreography to advance the dance and technology domain.
Research has been conducted in accordance with the methods of ‘Action Research’. This involves practical experimentation, achieved through the researcher’s artistic projects. These were treated as ‘case studies’ and were subjected to a critical review informed by a variety of theoretical frameworks drawn from different disciplines. These include psychoanalysis, psychology of perception, philosophy, linguistics and human computer interaction. This symbiotic relationship between practice and theory has been examined through the lenses of Jean Jaques Nattiez’s (1990) poietic and esthesic perspectives. Divided into three stages, the progression of the research has been monitored by continuous ‘reflection-in-action’ and has been contextualised by mapping contemporary, interdisciplinary critical discourses. This has resulted in a series of hermeneutic outcomes that will inform dance as an art form. Through this process an understanding of mechanisms and effects that are involved in the integration of digital projections with live choreography as a technical, artistic and collaborative practice has been achieved and are made explicit in this thesis. To the extent that the combination of digital (video or 3D animation) imagery with live performers can be said to reflect the tensions involved in the formation of our subjectivity, this study also provides understandings and poses further philosophical questions on performance creations and collaborative practice.
University of Southampton
2006
Wiener, Maria
(2006)
Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance.
University of Southampton, Doctoral Thesis.
Record type:
Thesis
(Doctoral)
Abstract
This thesis constitutes a practice-led research into the integration of digital imagery (video and/or 3D animation) with live choreography in the context of contemporary dance performances. The intention of this research is to identify and rearrange the parameters that are intertwined in the combination of performers and digital projections in order to achieve balance between the two media and restore the artistic validity of the digital imagery in performance. This investigation has been developed through the realization and analysis of the researcher’s own artistic projects, which constituted video (or 3D animation) works, developed in, and with, live choreography to advance the dance and technology domain.
Research has been conducted in accordance with the methods of ‘Action Research’. This involves practical experimentation, achieved through the researcher’s artistic projects. These were treated as ‘case studies’ and were subjected to a critical review informed by a variety of theoretical frameworks drawn from different disciplines. These include psychoanalysis, psychology of perception, philosophy, linguistics and human computer interaction. This symbiotic relationship between practice and theory has been examined through the lenses of Jean Jaques Nattiez’s (1990) poietic and esthesic perspectives. Divided into three stages, the progression of the research has been monitored by continuous ‘reflection-in-action’ and has been contextualised by mapping contemporary, interdisciplinary critical discourses. This has resulted in a series of hermeneutic outcomes that will inform dance as an art form. Through this process an understanding of mechanisms and effects that are involved in the integration of digital projections with live choreography as a technical, artistic and collaborative practice has been achieved and are made explicit in this thesis. To the extent that the combination of digital (video or 3D animation) imagery with live performers can be said to reflect the tensions involved in the formation of our subjectivity, this study also provides understandings and poses further philosophical questions on performance creations and collaborative practice.
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Published date: 2006
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Local EPrints ID: 465999
URI: http://eprints.soton.ac.uk/id/eprint/465999
PURE UUID: 22b3bfad-4b0b-4867-9cf4-ce47ebc0eab8
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Date deposited: 05 Jul 2022 03:56
Last modified: 05 Jul 2022 03:56
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Author:
Maria Wiener
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