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02 NOVEMBER 2015

Hakanaï dance performance 2013

"Hakanaï is a solo choreographic performance that unfolds through a series of images in motion. In Japanese Hakanaï denotes that which is temporary and fragile, evanescent and transient, and in this case something set between dreams and reality. While widely associated with nature, the term is now often used to elicit an intangible aspect of the human condition and its precariousness. It encompasses two elements: that concerning the human being as well as that related to dreams. This symbolic relationship is the foundation of the dance composition in which a dancer gives life to a space somewhere between the borders of imagination and reality, through her interactions with the images she encounters. The images are on-stage animations that move in physical patterns according to the rhythm of the live sounds that they follow. The performance's outcome is the revelation of a digital installation to its audience."

Fig.1 Composed and Directed by Adrien Mondot & Claire Bardainne; Dance (alternating) Akiko Kajihara, Satchie Noro, Virginie Barjonet, Francesca Ziviani; Digital Interpretation (alternating); Adrien Mondot, Claire Bardainne, Jérémy Chartier, Loïs Drouglazet; Sound Design; Christophe Sartori, Loïs Drouglazet, Pierre Xucla; Sound Interpretation Christophe Sartori, Loïs Drouglazet, Jérémy Chartier, Pierre Xucla; Set Design Martin Gautron, Vincent Perreux; Digital Toolset Loïs Drouglazet; Light Design Jérémy Chartier; Outside Viewer Charlotte Farcet; Costume Design Johanna Elaouf; Technical Director Alexis Bergeron; Administrator Marek Vuiton; Booking Charlotte Auché; Production assistant Margaux Létang; Produced by; Adrien M / Claire B; Co-productions, Funding & Support; Les Subsistances, Lyon / Centre Pompidou-Metz; La Ferme du Buisson, Scène nationale de Marne-la-Vallée, Noisiel / Hexagone Scène Nationale Arts Sciences – Meylan / Les Champs Libres, Rennes / Centre des Arts, Enghien-les-Bains / Maison de la Culture de Nevers et de la Nièvre / City of Lille / DICRéAM; The Adrien M / Claire B Company is accredited by DRAC Rhône-Alpes, Rhône-Alpes Region and is supported by the City of Lyon.

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2013 • Adrien Mondot • Akiko Kajihara • Alexis Bergeron • algorithmic composition • algorithmic pattern • art and technology • artistic duo • between dream and reality • black and white • Charlotte Farcet • choreographic performance • Christophe Sartori • Claire Bardainne • computational artscube • dance composition • dance performancedesign formalism • digital backdrop • digital interpretation • digital puppetry • evanescence • fragilityFrancesca Zivianigenerative designgeometric pattern • Hakanai (2013) • immersive worksinteractive installation • Jeremy Chartier • Johanna Elaouf • light projection • Lois Drouglazet • Margaux Letang • Martin Gautron • movement performance • performance installation • Pierre Xucla • projection mappingpuppetryrhythm • Satchie Noro • sensors • snowflake • solo choreographic performance • solo performance • spider web • symbolic relationship • synapsetemporarytransiencetransitory movementtranslucence • translucent veils • Vincent Perreux • Virginie Barjonet • visual journey

CONTRIBUTOR

Simon Perkins
17 JULY 2015

With Oui: dance performance using live audio and algorithmic flocking

"The narrative of the piece develops around human communication and mutually supportive relationships. A bright object in the middle of the stage acts as source of knowledge and connecting link between the dancers. This object contains inside a motion sensor (a Wiimote controller) and is used in specific moments by the dancers as a performative object to manipulate audio."

"With Oui" – May 2015 | B. Iden Payne Theater, UT Austin – Texas: Choreography: Billie Secular, Ladonna Matchett; Sound: Eli Fieldsteel; Live Visuals: Rodrigo Carvalho; Lighting Designer: Ya-Tai Chung; Dancers: Zach Khoo, Kelsey Oliver, Gianina Casale, Nick Kao, D’Lonte Lawson, and Sam O.

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2015 • artificial life programme • audio reactive • audiovisual dance performance • audiovisual performance • Billie Secular • Boids • code driven visuals • dance performance • DLonte Lawson • Eli Fieldsteel • flocking algorithmflocking behaviour • Gianina Casale • Kelsey Oliver • Ladonna Matchett • live audio input • motion sensor • movement performance • Nick Kao • performative object • Plethora library • Processing (software) • Rodrigo Carvalho • Sam O • Texas • VDMX • Wiimote controller • With Oui (2015) • Ya-Tai Chung • Zach Khoo

CONTRIBUTOR

Simon Perkins
14 NOVEMBER 2014

Body Navigation: austere ambience of projection-dance work

"Two dancers and their digital reproduction are the scenographic frame of this humorous and emotional portrait of human relations. Based on rules and structured in a game like manner, the installation makes way for a playful dialog between the man, woman and the digital 'footprints' they leave behind.

The Body Navigation performance was originally part of a larger installation and modern dance performance in Copenhagen, by Tim Rushton, Danish Dance Theatre called Labyrint.

We used processing for the infrared blobtracking of the dancers and drawing the open gl graphics. During the performance Tina controlled the whole thing live from an Isadora–based interface via osc."

Body Navigation: dance installation and choreography for Labyrint at Kaleidoskop K2, Copenhagen 2008. Video artist: Ole Kristensen and Jonas Jongejan; choreography: Tina Tarpgaard; dancers: Hilary Briggs, Luca Marazia, Nelson R. R. Smith and Laura Lohi; produced by: Danish Dance Theatre.

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2008 • Athelas Sinfonietta • austere ambience • austere environment • black and white • body movement • Body Navigation (2008) • boundary functionschoreographyCopenhagendance performance • Danish Dance Theatre • digital footprints • digital reproduction • doppelgangerfloor • footprints • geometry • Gyorgy Ligeti • Hilary Briggs • human re­lations • infrared camera • infrared tracking • interactive projectioninteractive videoIsadora • Jonas Jongejan • Kaleidoskop K2 • Laura Lohi • Luca Marazia • Mathias Friis-Hansen • movement performance • Nelson Smith • Ole Kristensen • Open Sound Control (OSC) • palimpsestpartition of spacepatterns of movementperformance • play­ful dialogue • playful workPongprojected from overhead • Recoil Performance Group • scenograph­ic frame • software artspatial mapping • Tina Tarpgaard • tracingtrajectoryvideo projectionvoronoi

CONTRIBUTOR

Anna Troisi
17 OCTOBER 2011

Laban Movement Analysis: qualitative aspects of nonverbal behaviour

"Laban Movement Analysis (LMA) originated in the work of Rudolf Laban, and has evolved into a highly detailed practical system that describes qualitative aspects of nonverbal behavior. In its current development, it operates as a phenomenology of movement and mind, as it requires that the observer look at the movement itself, prior to interpretation and without prejudice, while acknowledging the intrinsic connection between movement and subjective experience. Movement Analysis increases kinesthetic sensitivity for the observer, because it places in the foreground of the observer's experience, those aspects of movement which are individual–specific: that is, those movement choices which an individual makes within a particular context. Movement Analysis as a system of observation assumes that a significant degree of individual freedom in movement quality is always present within biological, cultural, and contextually defined bodily repertoires."

(Janet Kaylo)

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attunementbodies in spacebodily engagement • bodily repertoires • body experiencechoreographycorporealdance performance • dance therapy • everyday movementexpressive repertoirefigures in spaceforensic detail • freedom of movement • intimacyintimateintimate movement • kinaesthetic sensitivity • kinesthetic • kinesthetic participation • kinetic exchange • Laban Movement Analysis • language for describing movement • LMA • movementmovement analysis • movement analysis methodology • movement and subjective experience • movement efficiency • movement experience • movement life • movement lives • movement performance • movement quality • movement vocabulary • nonverbal behaviourobservationpatterns of movement • phenomenology of mind • phenomenology of movement • physical presenceposturepuppetryreal-life • Rudolf Laban • seeing • seeing another • sensitivity to others • sensory abilitysubtlety • system of observation • theatre performance • therapeutic • understanding movementwatching

CONTRIBUTOR

Elisza Ribeiro
03 NOVEMBER 2010

Stelarc: The Body is Obsolete

"Stelarc is an Australian artist who has performed extensively in Japan, Europe and the USA – including new music, dance festivals and experimental theatre. He has used medical instruments, prosthetics, robotics, Virtual Reality systems and the Internet to explore alternate, intimate and involuntary interfaces with the body."

(Contemporary Arts Media)

Fig.1 Stelarc (2005) 'The Body is Obsolete' DVD & CD–ROM

Fig.2 Stelarc (2009) 'Stretched skin' type C photograph, 120.0 x 180.0 cm, Courtesy of the artist and Scott Livesey Galleries

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2005 • alternate interfaces • artistartworkAustralian artistbodycorporealcreative practicedeviceengineeringexoskeletonexperimentalhypothetical questionsintimate interfaces • involuntary interfaces • motion prosthesis • movement performance • muscle • nervous systemperformanceperformance artperformance artistprostheticsrobotic artroboticssculptureservo • Stelarc • telematic • transhuman • virtual bodyvirtual realitywalking sculptures

CONTRIBUTOR

Simon Perkins
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