Excerpts from performances developed in collaboration with choreographers Kentaro!! and Alessio
Sylvestrin, with dancer, Naoya Aoki. The project, The in-visible skirt and other imaginary things, was commissioned by the Yebisu International Festival of Art and Alternative Visions, Tokyo, January-February 2011.
The choreographers responded to, and choreographed for, with and through emergent iterations of
the interactive light-extending garments that themselves were refined within the interwoven design
concept, realisation, artistic direction: Danielle Wilde & Alvaro Cassinelli
commissioned by the Yebisu International Festival of Art and Alternative Visions presented at Yebisu Garden Place Central Square and The Tokyo Metropolitan Museum of Photography in Tokyo, Feb 2011
curated by Hiroko TASAKA
with collaboration from :
Alexis Zerroug (all things technical and then some)
Kentaro!! (choreography, dance, sound - solo)
Alessio Silvestrin (choreography, dance - duet)
AOKI Naoya (dance)
Piers MORGAN (sound)
Norimimchi HIRAKAWA (interaction programming for the installation, especially for sound)
Yukata ENDO • LUFTZUG (lighting and tech management)
Takeshi INARIMORI • Edith Grove (technical and production management)
Arthur C. Clarke’s third law of technology prediction: “any sufficiently advanced technology is indistinguishable from magic,” has inspired an evolving interrogation into how embodied-thinking-through-making might assist in imagining (better) futures that otherwise elude us. The video shows participants making declarations around exploratory body devices they developed through a making circle designed specifically to assist in articulating “sufficiently advanced technologies.”
~ A. C. Clarke, Profiles of the Future (New York: Holt, Rinehart and Winston, 1984).
a series of experiments with new methods for controlling and performing computerised sound using whole-body gesture.
Our overall approach was multifaceted. Considerations included: physicality in the space, sonic and compositional form, structure and aesthetics, conceptual semantics, sensor technologies and applications. These concerns were used as the basis for devising experiments, some of which were undertaken without interactive technology. For example in the early phases of the residency we experimented with movement-only composition, and later, some of the sound mappings were prototyped by improvising movement to pre-recorded sound.