Are playful responsive multi-media installations in which digital dance is animated.
The credits are media artists: Fausto Brusamolino, Rhian Hinkley, Margie Medlin
And Olaf Meyer. Dancemakers Vicki Van Hout and Lucky Lartey. Interaction design, Olaf Meyer. Sound design, James Wilkinson. Film Lighting, Fausto Brusamolino. Cinematography, Jane Castle, Martin Fox and Margie Medlin.
Producer and Researcher, Margie Medlin.
Experiments No.25 A, B and C had individual dance moving image libraries. Each programming parameter attempted to trial different connections between the gesture of the user and a choreographic outcome across the screens. The experiment demonstrates my exploration into the space between screens and a multiple of moving image frames.
Experiments No.25, A, B and C were each designed using the same hardware arrangement of six, twenty-one-inch computer monitors connected to an Apple Mac Pro. There was one user interface, a Huxley eight pad electronic drum kit, which was also interfaced with the Apple Mac Pro multi-core computer. This multi-media hardware configuration was programmed though Troikatronix’s Isadora software. Every programmed software file, commonly known as a “patch”, is able to map digital images files to and across the screens in an unlimited number of configurations. Simply put, images can be mapped or tiled, thus treating the six-screen configuration as either an individual or conglomerate of two or more screens. Each patch can in real-time play and manipulate clips from a multiple of virtual “bins,” (which is another name for a structure on virtual computer folders). The programming parameters, patched to the Huxley drum’s pads, influence which clip play from which bin. The programming parameters were designed to emphasise rhythm and gesture. In each patch, it was the selection of video clips in these bins, and their mapping to the screens, that created the basis for a potential choreography. However, also contributing to the potential choreography of each patch was: the prior editing of the clips, the connection of the program to the gestural interface of the drum kit, and the mapping to the screens.
It was presented by The Substation, Melbourne who nurtured the project’s research and development for two years. It was hosted as an artist residency by the Altona Gate Shopping Centre between January 21 to March 18, 2019
The Exhibition dates were Thursday the 14 and Friday 15 of March (2:00pm – 7:00pm) and Saturday 16 and Sunday 17 of March (11:30am – 4:30pm)
The research took place as part of short residencies at Critical Path and FORM Dance Projects, Sydney and the Creative Practice Research Unit at the University of New South Wales, in Sydney, Australia, in January 2017 and 2018. The experiments were funded by the Emerging and Experimental fund of the Australia Council for the Arts.