Touching space : using motion capture and stereo projection to create a virtual haptics of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.

The dance of trust in high risk multi-partner collaborations : an exploration of the antecedents of trust in cross-sector R&D projects

This paper explores the dance of trust in cross-sector R&D collaborations, and does so by drawing on a multi-method study (involving qualitative research, case studies and a survey of project leaders) of the Australian Cooperative Research Centre (CRC) Program. R&D collaborations formed under this Program involve two main types of risk, venture or performance-related and relational, and these are problematic given power, information and risk impact asymmetries among the partners. Within the CRCs these risks are addressed through formalisation, employing the “right people”, and through relationship building. Trust (theorised following Sako as a multi-dimensional construct) is central to these processes. Where trust is formed among CRC participants, and is reinforced over repeated interactions, then relational and performance risks cease to become a major concern for CRC managers. In the CRCs, trust is formed and sustained as a multi-level process. Engagement and relationship commitment is achieved at an organizational level, and partner reputation, credible commitments and the institutional context are important factors here. At the project level, trust, in conjunction with a task focus, leads to a positive collaboration experience and this is associated with positive project outcomes. Within CRC projects, capabilities for communication and cross-sector management are important for the formation and maintenance of trust. The paper concludes by discussing the managerial implications of the study’s findings and by identifying areas for further research and conceptual development.

From training to artisanal practice : rethinking choreographic relationships in modern dance

In the first part of the twentieth century early modern dancers created both a new art form and the forms of group social organisation that were its condition of possibility. This paper critically examines the balletic and disciplinary ‘training’ model of dancer formation and proposes that the assumption of training in dance can obscure other ways of understanding dance-making relationships and other values in early modern dance. An ‘artisanal’ mode of production and knowledge transmission based on a non-binary relationship between ‘master’ and apprentice and occurring in a quasi-domestic and personalised space of some intimacy is proposed as a more pertinent way to think the enabling conditions of modern dance creation.

Capturing dance and choroetopography : analyzing and visualizing complexity

 Motion capture provides 'snapshots' of the complexity of movement patterning.  This presentation explores how this complexity can be mapped to specific variables for analysis, and what such analyses both reveal and mask in relation to the choreographic practices involved, drawing on my three-year collaboration with mathematician Vicky Mak-Hau and biomechanist Richard Smith at the Deakin Motion.Lab in Melbourne, Australia.  The paper explores how these analyses can potentially drive creative processes in dance, and, through a discussion of performance project Choreotopography, how real-time motion capture can visualize and enhance spatial pathways using 3D stereoscopic projection.

Capturing dance : using motion capture analysis to enhance dance creation and performance

Opening keynote address.

Use of digital media and dance within the classroom

Beckwith spoke on and conducted workshops on the use of digital media and dance within the classroom.

From the website http://ausdance.org.au/news/article/2011-dance-across-the-domains-2011 :
Dance Across the Domains (DADs) is an innovative program for teachers and educators to receive professional development from dance industry practitioners and leading dance teachers.

In 2011 the focus for the conference is “dance from many cultures”. A key feature of the conferences is exploring the ways dance can enhance learning in other areas of the curriculum, such as literacy, numeracy, humanities and ICT.

DADs is includes practical activities, theory-based sessions, peer observation, case studies, resource sharing and networking. The conference supports schools’ implementation of VELS domains and strand, provides curriculum advice and related support materials.Megan spoke on and conducted workshops on the use of digital media and dance within the classroom. 

Allelujah (dance version)

Allelujah Dance Version is a dance piece that also fits well with projects of a religious or spiritual theme; Christmas and Easter included. It centers on a female vocal singing Alleluia, with violin, cello, piano, harp, drums and bass.

And I ask (hard dance)

And I Think (Hard Dance) is a pumping dance track with all the usual suspects featuring in this track.

Dance therapy collections : number three

This collection of articles by keynote speakers, Australian and overseas practitioners, developed out of presentations at the third Australian Dance Movement Therapy conference, ‘Weaving The Threads’, held in Melbourne in 2007. This volume includes 22 articles from Australian and international dance movement therapists and colleagues on a wide range of topics, from dance therapy's origins and directions, research and evaluation in dance-movement therapy to therapeutic applications and skill development for therapists.

Practising research, researching practice : thinking through contemporary dance

Practice as research is now an accepted mode whereby artists can obtain a higher degree in our universities. But what conditions pertain for them there? Daily experiences of the misfit between the university, particularly in its current corporate guise, and the embodied practices upon which I draw have helped me, paradoxically, to clarify certain dance values which can perhaps have wider resonance. These values relate to concepts and ideas that can be found articulated by many practising artists and a number of other thinkers and practitioners including Winnicott, Alexander and Arendt. Focusing on here and now practicalities and issues, such as the nature of the studio floor, this article explores and argues for the importance of aesthetic experience and attention to life as we are living it: to experience, paradox, action, and sensation.

Dance interrogations

A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.