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theorising through (dance) practice

networked choreography

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I've submitted a proposal to DTPA 2006 entitled 'Transcluded Composition; Realizing Hyperchoreography'. this paper is significant to me for two reasons; a) it is the product of my thinking on projective practise theory, and b) it marks a change in approach to my critical analysis of others work.

whilst my views on the shortcomings of hyperchoreography are a matter of public record, i no longer wish to criticise without making a positive contribution. i do believe that the notion of hyperchoreography and it's theoretical basis are sound, what i take issue with is the current implementation(s) [1] and supporting documentation [2]. i don't think that Miles' essay contextualises the practice with enough rigour whilst Popat & Smith-Autard's paper is significantly out of date (based on 1999 web technology). I've linked to Whyte's paper before, but whilst it is an excellent essay it doesn't support their practice. so, as part of developing my 'projective practice theory' i have written a paper that seeks to realign hyperchoreographic practice with it's theory.

my feeling is that the present examples are asynchronous dance for camera. if the goal is "non-literal/ non-representational/ non-narrative" that preserves the dasein of human movement and its physical properties of weight, mass and un-enhanced physicality" then some deep level reimplementation is required. However, what i find interesting is that most of the solutions lie within Nelsons original concepts of hypertext. The key principles that hyperchoreography must adhere to are:

  • transclusion
  • multi directional linking
  • user annotation.
  • user contribution
if we can ensure that these principles are adhered to then McPherson and Fildes goal of populism, pluralism, unorthodoxy and universalism will follow. i believe that this realignment of theory and practice is achievable now ...
Drawing on existing implementations of Web 2.0 technologies such as 'Flickr' and 'Goolge Video' we will illustrate how hyperchoregraphic practice could be realigned with its theoretical basis. This re contextualised application will reveal the possibility of distributed choreographic collaboration and (concurrent) visual representation of motive intertexts. Using an example of the proposed interface we will show how the 'user' will not simply a participant in the compositional process, but fully responsible for the choreography
i'll let you know what happens with the paper and post more details / content as i am able.Whatever happens i will also submit an essay to the hyperchoreography site that presents a deep contextualisation on the theoretical and practical issues involved.

[1] hyperchoreography works
[2] Writings about hyperchoreography

title of this entry with apologies to networked performance

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