Chapter 6 Materials vs Content in Digitally Mediated Performance

Chapter 6 Materials vs Content in Digitally Mediated PerformanceThe Author classifies the performance in two types: one is material-driven one and the other is content-driven one. Both of works used motion tracking systems that respond to movements of the dancers and a unified methodology for using those tracked movements to manipulate the media. However there are big differences between them.1.Material-driven performance : Apparitions by Klaus Obermaier(2004)-the visuals stay within a clearly defined realm throughout the course of the piece and these visuals are visible throughout almost the entire work.-exhaustively explore the attributes of all materials used in a work.-these works are in essence, about the materials themselves.2.Contents-driven performance :16[R]evolutions by Mark Coniglio and Dawn Stopiellohttp://www.troikaranch.org/16revs/trailer-qt.htmlhttp://www.youtube.com/watch?v=LJ3_AOBX6TM&NR=1http://www.youtube.com/watch?v=Rbv7n0ZgA98 (about the technology)-It presents a far more varied palette of visual imagery that is present in several sections but is significantly absent in others and in a few spots the imagery is not interactively controlled at all.-Full exploration of the narrative arc is of primary importance, and that the materials, whether they be movement, text, or visuals can be brought to bear as needed as long as they support the aesthetic intent of the piece and as long as they do not appear as deus es machina.-They attempt to join the visual imagery with the dance and theatrical sections in support of ideas. The rigor comes in relating all materials to the core narrative theme of the work.-to intensify each other in a complementary manner, so that the viewer's attention remain intensely focused on the content of the work.When attempting to combine technologically advanced visual imagery with content-based performance, we find some problem because imagery(in large scale) is seductive in a way that is quite difficult to control. Viewer also can not concentrated to the contents because viewers are seduced by the visuals to the point where the other materials became invisible or a viewer is not rigorous as a viewer.(newness and novelty of the imagery makes it difficult for the inexperienced viewer to focus on anything.)-Suggestion to move past this stageThose who are creating content-driven work must forge ahead in parallel with those who are creating materials driven work.If these two camps pay attention to each other as we present our work, and the audiences are able to experience both modes, we have the opportunity go beyond the historical model as we holistically and simultaneously develop theory, technique, and content. The technology is very fancy at first and it is getting most often used to support the performance or art works. But after a time it is not a priori. It is integrated into our experience that exhaustive exploration of it becomes unnecessary.Classifying performance in two category is a little unnatural. Material or technology is not an oppositional concept to content. I think two elements are needed to explore the art works. and make an impact on each other.Troika Ranch is a digital dance theater company that focuses on creation, education and innovation in theatrical performance. In 1990 choreographerDawn Stoppiello and composer/media artist Mark Coniglio founded Troika Ranch,Troika Ranch’s original stage works are based on a specific process of interaction between live performers and digital media.16Revolutions100,000 years of human evolution are condensed into 16 [R]evolutions. The work focuses on a single evolutionary path: how the animal drives of our pre-human ancestors have become sublimated to the point of abject confusion and disconnection. In stark contrast to this path, are exquisite three-dimensional visuals that warp and morph in direct response to the dancers movement. 16 [R]evolutions asks the question, can we reconnect with our core needs to feed, fight and reproduce while continuing to evolve into beings of light and intellect?Troika Ranch uses interactive digital media and computer technology as an essential component of their performances. Bending arm can warp a video image and the kick of a leg can recall a musical phrase.Troika Ranch’s sensory devices allow the dancers to approach a performance in a manner similar to a jazz musician: they can follow their instincts from moment to moment.Isadora® is the software “brain” behind Troika Ranch performances and is the main technology used to generate the 3D imagery for Troika Ranch’s current project. Isadora is a graphic programming environment that provides interactive control over digital media, with special emphasis on real-time manipulation of digital video. Isadora gathers movement information from various sensory devices and uses that information to control and manipulate digital video, music synthesizers, sound modulation devices, theatrical lighting and robotic set pieces.