----------empyre- soft-skinned space---------------------- Dear all something in that probably they are interested "dQ14 Dancing in SPACE" http://www.unistra.fr/index.php?id=19773&tx_ttnews%5BbackPid%5D=14651&tx_ttnews%5Btt_news%5D=9311&cHash=d2c7212c525a015d20eed874cafb2596 http://www.xanela-rede.net/xnl-laboratorio/dq14-dancing-in-space/
Regads Vivi www.seuil-lab.com https://sites.google.com/site/vivianfritzroa/ Le Jeudi 31 Juillet 2014 20:08 CEST, Johannes Birringer <johannes.birrin...@brunel.ac.uk> a écrit: > ----------empyre- soft-skinned space---------------------- > > > Dear all, > > last day of July has come, and, thanks to Jacky, we are suddenly on to sports > and a quite fascinating subject regarding the current era of > technological reproducibility of the aura of high performance, or as you argue > > > > the extreme embodiment of their sports discipline, though along side there > is a virtual body , data _video, statistics, motion capture data_ collected > through all kinds of tracking technology. This virtual body is there to > assist in elevating the athlete slightly above their physical 'limitations'. > > > > This is interesting on many counts --- thanks also to Sue for expanding on > her work and the choreographic or performative "embodied presence of place" > (Sue schreibt: " the kinaesthetic patterns of the there-and-then reveal the > presence of ghost gestures that haunt the here-and-now, wherever that may > be". There are some cross-overs to Moments in Place...."). The feedback you > quoted, Sue, is of course also fascinating as I was imagining myself, not > having experienced this haptic-dance project, what it would be like to feel a > dance but not see the dancer. > > This is perhaps analogous to radio. And what it leaves to the imagination, > Jacky. You remembered (and made your 'Intimate Irrelevant Moments') about > the 1974 final world cup game (Germany-Netherlands), which I remember having > watched. On the other hand, before our time, there was a final (a few years > after the war, and a defeated and humiliated germany was allowed to > participate again), in 1954, in Switzerland, when Germany won 3:2 against > Hungary and there was no television, only radio, and yet the final minutes of > this game have had mythical proportions in German culture and yet the action > was only ever experienced aurally by the listeners to the radio broadcast, > the voice of the broadcast commentator, by the time I grew up, had become a > collective reverberant, a series of vocal gestures perhaps indeed comparable > to a "monument" in Kirk's sense of an intangible heritage, and something that > could perhaps be re-constructed via archaeology....... > > ...and an "audio" archaeology (of virtual embodiments of sound and music, as > well as instruments) seems to be at the heart of a current exhibit at the > Science Museum in London which I believe drew from the archives of the BBC > and also featured a female inventor and sound artist probably not many have > heard of -- Daphne Oram. The wall texts of the exhibit say that the museum " > unveils lost gem of electronic music", the Oramics Machine, a unique > synthesizer - invented in the1960s by Daphne Oram who established the BBC > Radiophonic Workshop. The synthesizer machine (see: > http://www.nervoussquirrel.com/oramics.html) is rather amazing as it seems to > have been an early synthesiser that has audio parameters controlled and > sequenced by drawing on strips of clear film (!). Oram drew Michaux-like > sinuous curves, shapes, graphic signs, figures and gestures onto film strips. > The film is wound across a horizontal bed, with the graphical elements > interpreted by light sensors. > > The sound was early electronic sine waves, oscillations and noises etc (as > rock musicians then also started to use them when the Moog Synthesizer became > available); well now, Jacky, can you tell us more about your video and what > you actually mean by vector video -- watching your "Impression of Bimhuis > Dance & music improv Lab" (http://vimeo.com/99429183), your camera work looks > like mine and I don;t know whaty vector video is. I also was not sure what > (in that video) was the camera's observation point of view as it seemed > straightforwardly focussed on the dancer and the dance gestures. > > Sue's work on inhabiting places (then and there and here and now), or Kirk's > experimental archaeology with digital means thus gains an interesting > contradictory dimension: if we cannot see the place or experience it with > our own body, > but only through virtual means (and an other body becoming virtual, yes?), > how d o we know or sense (mentioning Harun Farocki, whose critical images > surely would interest Simon Taylor, reminds of what Brecht said about > photography: namely that a photograph of the Krupp Steel Works does not tell > us anything about the Krupp Steel Works), through "amplification" or other > definition (HD , 3D or other wise), what is the matter? > > (radio, by the way, is back, and thus our work of imagination. I read the > other day that audio books are becoming more and more popular, folks like to > listen to literature, I find this rather wonderful, as I enjoy imagining > places and characters). > > > regards > Johannes Birringer > dap-lab > http://www.brunel.ac.uk/dap > > > _______________________________________________ > empyre forum > empyre@lists.cofa.unsw.edu.au > http://www.subtle.net/empyre _______________________________________________ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
