NEST

Indigenous choreographer Monica Stevens, dancer Rheannan Port and lead researcher Kim Vincs present motion capture visualization of indigenous dance movements for Stevens’ work NEST. This work forms part of Vincs’ ARC Discovery Project Capturing Dance: using motion capture to enhance the creation of innovative Australian dance(DP0987101).

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.

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.

She sleeps

A short dance film screened at the ADF Dancing for the Camera Festival, Durham, NC, 2009.

she sleeps (2009) 3:47
Performed by Jaye Hayes
Camera, editing and sound: Dianne Reid
Created as part of an installation, Yours Truly, a City of Darebin artist-in-residence project for the Art of Difference Festival, Melbourne, 2009. This project examined the public perceptions of difference while exploring the intimate interior lives of five local disabled dancers working in collaboration with director Katrina Rank and filmmaker Dianne Reid. In "she sleeps" performer Jaye Hayes is a dancer navigating chronic illness (CFS).

Life during wartime : sexuality, recruitment and reality television

In 2010, Defence Force Recruiting (DFR) Navy Marketing entered into a media sponsorship package with the Australian version of the reality TV show So You Think You Can Dance (SYTYCD): Footage of the day aired on national television on SYTYCD and weekly ‘dancer bootcamp’ sessions training the dancers in Navy values featured on a dedicated and branded Navy section of the official SYTYCD website. This article analyses the Navy’s SYTYCD ‘integration opportunities’ to consider the role of reality television in the redefinition of the defence forces as a training and vocational pathway for young people. Underpinning such considerations is the conceptualization of the work of reality television through the prism of public and popular pedagogies. Taking sexuality as a focal point, the article will reflect on efforts to lift recruitment through an emphasis on the incorporation of diversity. Reading the work of Jasbir Puar against the Australian ‘archive’ of integration opportunities, this article contributes to queer critiques of homonormative and homonationalist tendencies in contemporary politics.

Driven down by the storm

Review of Blizzard , performed by  Nat Cursio Company, at the Substation

Parallax

Parallax is a live contemporary dance work that incorporates 3D animation, stereoscopic illusions and dance. This work was performed within the Melbourne Fringe Festival at the Substation, Newport. Within this work the stereoscopic illusion creates a new choreographic palette that can be used to manipulate human physicality via animated bodies that appear within the performance space. The stereoscopic image is released from the wall and placed within the dancing environment the image becomes another body within the dance space that can be manipulated in ways that would be impossible for a real physical body. In turn, the dancing body is positioned within the digital environment. The performer’s abilities have not changed, but the space around the dancer can be manipulated with imagery that transforms the place of the dancer within time and space. The stereoscopic illusion and live dance are melded creating a new experience of choreography one that takes the infinite possibilities of 3D animation and places them directly within choreography. Thematically this performance draws on the historical events revolving around the development of the stereoscope in the 1830s and the seminal ideas of the virtual that surfaced at this time. In the early 1830s Charles Wheatstone drew on the ideas and writings of Euclid and Leonardo da Vinci and discovered binocular vision through the use of his stereoscope box. It was this box that became the entertainment sensation of this time becoming a standard parlour entertainment. Unlike now where imagery of people are everywhere in the 1830s these types of imagery were novel. The stereoscopic pictures often showed content of people doing ordinary tasks such as chopping wood, doing the washing or simply standing in front of their house. In Parallax a Victorian woman is transported from her hallway to virtual worlds where she encounters, Euclid’s ancient Greek column, a di Vinci sphere and one of the first stereoscopic images drawn by Charles Wheatstone’s a stick figure cube.

WORK: hybridity and endurance within solo dance practice and performance

Hipsync screendance collection 1993–2012

An exhibition on 3 screens of 26 screendance works created by Dianne Reid between 1993-2012. Two paintings by visual artist/dancer Melinda Smithwere also hung in the gallery space with the screen works.

"Recognition" : Interactive motion tracking installation with neural network agent performer

Public installation running throughout the night at Cube 37 gallery. Morphing forms are projected onto the glass front of the gallery, facing the street. Human perticipants interact with the forms whose morphology changes with the movements of the participants. When no human participants are present, a neural network based agent that has learnt how to dance from a trained dancer, takes over and the forms follow the agent's movement.

Learning to dance with a human

Artificial neural networks are an effective means of allowing software agents to learn about and filter aspects of their domain. In this paper we explore the use of artificial neural networks in the context of dance performance. The software agent’s neural network is presented with movement in the form of motion capture streams, both pre-recorded and live. Learning can be viewed as analogous to rehearsal, recognition and response to performance. The interrelationship between the software agent and dancer throughout the process is considered as a potential means of allowing the agent to function beyond its limited self-contained capability.

Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience

The motion capture process places unique demands on performers. The impact of this process on the simultaneously artistic/somatic nature of dance practice is profound. This paper explores, from a performer’s perspective, how the process of performing in an optical motion capture system can impact and limit, but also expand and reconfigure a dancer’s somatic practice. This paper argues that working within motion capture processes affects not only the immediate contexts of capture and interactive performance, but also sets up a dialogue between dance practices within and beyond the motion capture studio.

Development and assessment of an incremental fatigue protocol for contemporary dance

Nine trained contemporary dancers performed a modality-specific, heart-rate-monitored, choreographed fatiguing dance protocol with an assumption of fatigue at volitional exhaustion (RPE 16). Postural stability was assessed as the variability of ground reaction forces and the centre of pressure during the performance of a flat-foot arabesque. Psychological response was assessed using self-reported fatigue, psychological distress (PD), and psychological well-being (PWB) (Subjective Exercise Experience Scale). After reaching RPE 16 in 15.7 ± 2.6 mins, heart rate decreased to the post-warm-up level within 64 ± 9 sec. Variability of ground reaction forces or the centre of pressure was not changed. There were no significant changes in fatigue, psychological distress, or psychological well-being. Within fatigue, there was a significant increase in the item tired (p = 0.04). As supported by the heart rate data and RPE, the protocol achieved an appropriate level of physical demand. No changes in the stability indices were observed, possibly attributed to the rapid recovery in heart rate. The expression of only tiredness suggests the use of a disassociative attentional style by the dancers. The project represents pilot work toward the validation of a monitoring process that supports dancer health and awareness training.

The French consul's wife : memoirs of Céleste de Chabrillan in gold-rush Australia

A former Parisian courtesan, bare-back-rider, and polka dancer, Céleste de Chabrillan scandalized Melbourne when she arrived in 1854. Her vivid account of years spent in diplomatic circles and on the goldfields reveals her great energy and will.

Managing instability

The chapter discusses the work of choreographer Russell Dumas from the point of view of a dancer in his work.