Community organisations and the dance of good and bad risk

This paper is concerned with an element of contemporary society that forms. the backdrop for some of the contradictory expectations and practices that currently bedevil community organisations in Australia. This element is the idea of risk, or more pertinently, the construction of the idea of risk society. The argument presented is that there are two different interpretations of risk, risk as threat and risk as opportunity. Each interpretation is examined to reveal the ways in which it affects community organisations in Australia. The paper concludes with the view that both ways in which risk is constructed are being used as part of the rationale for new forms of control.

Modern dance, domestic life and civil society

In her book The Reluctant Modernism of Hannah Arendt (2000) Seyla Benhabib uses the concept of an ‘alternative genealogy of modernity’ to help her both to understand Arendt’s political philosophy and to rethink the potential for civil society to become a progressive political force at the beginning of the twenty first century. The idea of an alternative genealogy of modernity refers to a heterogeneity of social and political forms, spaces and acts that might be used to remap and redefine a modernity whose dominant topology has been shaped by the binary division between so-called public and private spheres. Alternative modernities have already been elaborated and explored from a range of different perspectives including feminist and postcolonial ones: for example, in Rita Felski’s Gender of Modernity (1995) and Dipesh Chakrabarty’s Provincialising Europe (2000). In this paper I want to elaborate upon the idea of an alternative genealogy of modernity from my perspective as a dancer. Thinking through the sociality of art and, more specifically, of some historical dance-making practices can make visible alternative spaces and processes of the (potentially) political. In the West, the modes of art-making form part of an as yet not fully explored arena of the social and of social practices. Modernist and Romantic ideologies have tended to preclude attention to the specific sociabilities of art-making. On the one hand Modernist ideology and art discourses have promoted the idea of an art work’s ‘autonomy’: its radical separation from the social relationships, the bodies and the conditions of its making. On the other hand Romantic ideology, still pervasive in popular conceptions of art practices, construes creation as interiority and individualistic expression. Socialist feminist and Marxist discussions of art have emphasized the social conditions of art-making but these have tended to be concerned with the social inequalities instituted within the public/private split rather than seeking to destabilize that division itself by posing questions of differences within the social. In my discussion below I draw on aspects of early modern dance practice and creation in taking up Benhabib’s concern to mobilise an alternative genealogy of modernity towards a renewal and reactivation of civic life. This project involves unsettling clear distinctions between the so-called ‘public’ and ‘private’ but, at the same time, as Benhabib cautions ‘the binarity of public and private spheres must be reconstructed and not merely rejected’. (2000:2006)

Digital alchemy : two experiments in form processing

Programmatic form-finding and the visual analysis of creative works (architecture, sound, sculpture, painting, music or dance) can be combined to develop “alchemical” processes for the computational exploration of form. This paper reports two project-based form exploration experiments using such a process. The first experiment develops a process for capturing, manipulating and generating form based on a piece of dance choreography. The second experiment explores the decompression of space and architectural elements encoded within the Duchamp painting “Nude descending a staircase”. A discussion for incorporating programmatic strategies and for developing an innovative approach to conceptual form processing based on the language of geometry is presented.

Poesis in diegesis : real-time interactive dance performance

This paper describes the processes of creating a hybrid experience of live performance and virtual imagery in 1 + x: Mid-range Projections, a dance work that uses real-time processing of live feed video to create a duet between dancers and their virtual images. 1 + x is about creating experiences of interiority and intimacy, ironically, through the juxtaposition of virtual images of performers with their real selves. This paper examines how the ideal of reinserting intimacy, humanity and 'presence' into a technologically generated image space, in the case of 1 + x, depends on the precise and delicate manipulation of live-feed video in collaboration with the audience's experience of interactivity. The result is a performance work that creates a poesis of 'presence', through a diegesis that melds real and virtual images on the same screen and the same conceptual and spatial plane - a 'becoming virtual'.

Follow your heart and something will come : subjective factors in the sustainability of early to mid career contemporary dance artists

This project comes out of a desire to investigate the subjective factors that influence how and why people become and stay dance artists. When dance artists in Australia earn, on average, $27,000 per year, and only $16,700 of that income is dance-related, according to David Throsby’s (2003) recent study for the Australia Council, one has to start to think that maybe sustainability, that is, artists’ ability and willingness to stay within the industry, is not solely governed by economic factors. One has to also start to think that subjective factors, things to do with the value, satisfaction and quality of life dance artists get from what they do, might be as significant, if not more significant, drivers of sustainability than pure economics.

Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

Dance classes, youth cultures and public health

This article explores the social aspects of young people's participation in dance classes and its potential to lead to new directions in public health initiatives in Australia. The health benefits of dancing are promoted significantly less than other sports in spite of its popularity among young people. Dance classes, unlike the apparent abandonment of raving, present a specific, structured and codified dance style. Thus, it entail both self- and other-oriented subjectivity.

The dancer, the choreographer and modern dance scholarship: a critical reading

This paper undertakes a critical re-examination of the ways in which dance-making relationships between the dancer and the choreographer in American modern dance have been conceptualised in dance discourses. The essay proposes that a defining aspect of modern dance practices (from the moment that, after Duncan and Fuller, it became a group as well as a solo form) was the dancing together of the choreographer and the dancer(s) as the central mode of dance creation and transmission. In dance discourses, however, this dancing relationship is frequently not acknowledged. Texts by dance scholars Susan Leigh Foster, Amy Koritz and Randy Martin which draw on theoretical frameworks from outside dance are analysed in terms of the ways the theoretical frameworks that underpin them both make it possible to raise the question of the nature of the dance-making relationship while at the same time can also make the dancer's and the choreographer's dancing together invisible or unrepresentable. The analysis shows how scholarly discourses and the theoretical frameworks upon which they are built are already invested in regimes of intelligibility and visibility which have consequences for the representation of modern dance. This analysis forms the basis for proposing the need for a non-individualised, inter-subjective and intercorporeal understanding of the dancer and the choreographer and their relationship in modern dance.

Using protocol analysis to explore the creative requirements engineering process

Protocol analysis is an empirical method applied by researchers in cognitive psychology and behavioural analysis. Protocol analysis can be used to collect, document and analyse thought processes by an individual problem solver. In general, research subjects are asked to think aloud when performing a given task. Their verbal reports are transcribed and represent a sequence of their thoughts and cognitive activities. These verbal reports are analysed to identify relevant segments of cognitive behaviours by the research subjects. The analysis results may be cross-examined (or validated through retrospective interviews with the research subjects). This paper offers a critical analysis of this research method, its approaches to data collection and analysis, strengths and limitations, and discusses its use in information systems research. The aim is to explore the use of protocol analysis in studying the creative requirements engineering process.