Erik van Zuylen comes specifically from Dance and Film., and showed some vigorous work of how a camera man can work with repetition making the banal acts of jumping through dirt and farm work seem strange and atheletic without showing the body as a purely instrumental tool.
Angelika Oei –director dance performer artist works with live dance, tries not to edit her dance takes on film and video which gives an amazing liveness to the work.
I showed 2 contrasting clips of work I was doing with dance and the internet from 2001 http://www.koert.com/work/drift/index.php, to present 2006 http://www.lowstandart.net/daedalus/ and the difference that makes when a dancer understands the technology that they are working with. I find it a crucial issue at the moment that needs to be addressed in contemporary practice. I believe there is something so much more integrated about at least knowing the nuts and bolts of hardware and software one is working with. I have the desire to develop software and hardware performance tools according to my own needs and experiences.
And made specific to the Porthole and mirror used in Jean Cocteau’s film Orphée, 1950. which I am very inspired by when using different media transmitters that evoke other spaces, places and times.
Here is a small expert of this movie which I pasted first a video made in a wind tunnel alongside of Orphée to emphasise the porthole and lost in a vaccuum type effect.
After his we introduced 3 areas:
1# the simple webcam _ monitor_camera
2# a camera output via a screen projected with a delay via a video stream
3# analogue video mixers and effect of filming from perceptual shifts in real and on monitor.
In the following pictures we see professional dancer Carmen Gomide
exploring the webcam with Kylie Abbot and Erik van Zuylen
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For a moment I was reminded of a contemporary play on Salome carrying the head of John the Baptist.
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On the outset of the work shop Sam Nemeth Erik van Zuylen proposed:
'In the project 'Good Morning Mr. Orwell' of video artist Nam June Paik, shown on the 1st of January 1984, dancer Merce Cunningham danced with his mirror image that was broadcasted via satellite and projected back what resulted in a delay of approximately one second. The waag wokshop and project will use an installation inspired on Paiks’ work. The image of the dancer will be streamed over the internet and projected. The mirror image will become a dance partner that will force the dancer to improvise. '
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Dance and /or Tech Michelle Hoekstra Fiona van de Geijn, Ans Kanen, Floortje Zonneveld played with the idea of recursive images, or eternal recurrence
in what is commonly known in film and video as the Droste_effect
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These contemporary apparatuses show we can transend this desire to be looked out from above and/or outside but introducing the idea of a via, timelapse, perceptual shift, and the subtle intimate perspective given by the close up of a small camera.
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With these media spaces, it shifts the principles of order and proportion, the expression of splendour, the geometrical forms, that were all fundamental principles since Renaissance dance. The patterns in both these art-forms were meant to be viewed from above.
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Here we see Angelika Oei –director dance performer artist working with PhD student and dancer Zeynep Günduüs sharing her amazing well refined craft skills from dance and film.
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