Multiplicitous States: Exploring choreographic authorship through digital translations
- Submitting institution
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Liverpool Hope University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- RS11B
- Type
- T - Other
- DOI
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- Location
- -
- Brief description of type
- Practice based
- Open access status
- Compliant
- Month
- April
- Year
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- MULTIPLICITOUS SITES is the overarching title of Dr Rachel Sweeney’s practice-based research submission. This digital dance research project includes several performance productions (Dublin Moving Bodies Festival 2014, 2015, Light Night Liverpool 2015), video documentation, an international conference (Lightmoves Screen Dance Festival 2016), an academic paper (Body Space Technology, online publication 2016) and a mixed media exhibition (Threshold Festival, Liverpool 2016). Available at https://www.rachelsweeney.org/multiplicitous-sites.
MULTIPLICITOUS SITES uses digital performance translations in the form of live interactive composition between solo dancer Rachel Sweeney and glitch computer programmer Antonio Roberts (Associate Artist Birmingham Open Media Space, Associate Producer, Vivid Projects). The project is developed using immersive and interactive digital dance performance and writing practices to inform critical discourses around spectatorship in digital immersive performance, questioning spectator/performer relations and the ethical and political implications of viewing live and virtual dance. The project is of particular critical resonance where it explores current tensions and debates around kinaesthetic empathy processes, digital authorship and artistic communication methods in a post COVID arts landscape (Bench 2020).
MULTIPLICITOUS SITES situates the Japanese contemporary movement practice of Butoh and its associated language methods within digital choreographic composition; specifically, the somatic integration of visual and tactile imagery as archival resource to inform both computer and dance language. Drawing from Brian Massumi’s theories of proprioceptive vision and inter-sense relations (Massumi 2008) and also Andre Lepecki's trope of ephemerality in dance (Lepecki 2004, 2006), the research expands an inquiry into tensions between live and virtual choreography, and explores theories of cognition (Forsythe et al 2003), sensory enhancement (Weinstone 2006) and theories of kinaesthetic empathy in relation to dance spectatorship (Reynolds 2012).
Performance outcomes operate in compositional dialogue with glitch processes (autonomous authorship), offering new insights for digital choreographic collaboration as well as developing new economic platforms for artistic production and dissemination.
- Author contribution statement
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- Non-English
- No
- English abstract
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