Download Invisible Connections: Dance, Choreography and Internet by Sita Popat PDF

By Sita Popat

The first and in basic terms e-book to target dance on the web, Sita Popat’s interesting Invisible Connections examines how net and verbal exchange applied sciences provide dance and theatre new structures for growing and appearing paintings, and the way possibilities for distant interplay and collaboration can be found on a scale by no means prior to imaginable.

Drawing upon the work of practioners and theorists within the arts, communications and expertise theorists and , Invisible Connections makes detailed connection with Popat’s sequence of Internet-based choreography tasks from with on-line groups all over the world, and explores:

* tools wherein such applied sciences can facilitate inventive collaborations among performers and viewers
* how sharing inventive strategies among on-line groups can improve the creative palette and supply arts-based learning
* how the Cartesian duality of the mind-body break up is challenged via the physicality of dancing and choreography jointly online.

With its twin element strategy, from the writer as an artist/researcher and the appendix being written by means of a software program dressmaker, the ancient standpoint on functionality on the net coupled with the writing makes this a needs to learn booklet for any scholar of functionality, dance or verbal exchange reports.

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Extra resources for Invisible Connections: Dance, Choreography and Internet Communities

Sample text

Devising methods do account for differences in the participants’ backgrounds and they have been successfully used in difficult community situations to create group products. Yet in these situations the devising participants are working together in a physical environment, with face-to-face communications. In an online virtual space where the community is less concrete and harder to define, will differences in participants’ previous experiences lead to problems in the collaboration if the group perceives some as being more knowledgeable than others?

This asynchronous interaction can support play, reflection and development in a journey through the creative cycle. In a truly interactive creative situation, nobody should know what the outcome is going to be, as the product is the result of the interactions between the participants, the artist and the developing artwork. g. telephone, email). , explain that computer technology is increasingly associated with social interaction: [The Internet] is much more a social phenomenon than anything else, with users attracted to the idea that computers are now boxes that connect them with interesting people and exciting places to go, rather than soulless cases that deny social contact.

Fisher devised the piece Gatecrashin’ (1999), using the dancers to generate all the material, but taking on much of the shaping and forming the dance herself. Phase 1: the impulse to create The first phase of dance making is the choice of theme or motivation for the dance, being closely linked with Abbs’ first phase of ‘the impulse to create’. We create because we want to create something, and that wish may be linked to the desire to express or communicate an idea to others. The word ‘idea’ is used here in its loosest sense, since that communication may be entirely self-referential and concerned with internal features of the work such as movement or structure.

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