Day Eight - How I want to use Hypermedia

So.
Back to this question of embalmment versus organ/orifice.

For me, the true power of hypermedia isn't that it preserves dance or gives it more context as a tool but how the abilities and possible styles of creating of a choreographer with that tool is changed. Now make no mistake, I don't think that this "evolution" that i'm talking about could take place without the specific functions of the hypermedia that i've laid out - preservation, education, context, process, giving voice to the audience - so it's definitely a symbiotic relationship. However, i've gotten many question about what the point of these functions are, especially from one of my dancers involved in the project. Her point seemed to be (and forgive/correct me if i'm off, Ilona) that if all of this beautiful art making and process was only being made so that it could preserve itself, then the act and point of making art had really lost value in her mind. That the hypermedia was a nice type of new art, but that it was somehow demoralizing that i was spending so much focus on the preservation and academizing of the art that it seemed to take away somehow from the art itself.

Now, my original response to this was something along the lines of what i've been saying - that the piece is still about the piece, and the hypermedia is just an artifact of that - but i've been thinking about her feelings on this ever since she said it.

I think i understand now that the hands down most important aspect of the hypermedia is that it completely changed my working process. I've said all along that if the hypermedia is nothing else, it's a tool to get me, one person, to make better work. However, i think that it's important that i go into a little more detail about how and why here, as it was the "most important" aspect of the entire project for me.

First, hypermedia allowed me to work harder and better on the piece that i was making. Because i was recording each rehearsal and then having to download and process the footage, I was participating fully in each one, then getting to sit back and watch the entire thing over again. In this way, i as the choreographer was rehearsing twice as much. I could let my mind wander about the piece, i could focus on specific detail, i could go on slow-mo and write extremly detailed notes for my performers, and i could catch things that i didn't see (or that were happening behind my back and across the room) the first time. I was working twice as had as i could normally work, because i was giving it twice as much time. And, although time was a huge part of it, i maintain that in many ways it was actually more helpful than having my dancers for that additional time, because it allowed me to be more thorough about what i already had. And anyway, in today's economy, who can afford to double their rehearsal time. Who has dancers with that much time to devote? Not me.

Second, it allowed me to get more information about the piece. As i mentioned, during the creation of the piece i was able to get more information by reviewing rehearsal footage, but it was really the information that i received after the piece was done that was the most surprising. First of all, the audience talk-back interface that we set up yielded some interesting, if not large in number, responses. While i still feel very much that the questions being asked is one of the biggest areas that needs honing, i was excited at many of the responses we received, and pleased with the ability it gave the audience to enter their voices into the project. Additionally, interviewing my dancers provided the most and most interesting information of the whole project, which i honestly hadn't anticipated. It was interesting to me, in looking at past pieces i've made and danced in, that while there's such an intense bond over the making of a dance, and there's an incredible amount of discussion about what's being made, there are inevitably a whole world of questions that don't get asked or answered. Getting to think about what i really wanted to know from my dancers (about three months after the performance) and getting to hear their response, felt like the biggest gift i could ever imagine. I can't really put into words how valuable i feel that was to me as a choreographer. In somewhere around seven hours of interviews (everyone combined) i received more insight to the piece, my dancer's minds, our collective understanding of the work, and insights into my creative process than I have ever ever ever received or given for a piece before. I was able to listen to everything they said and really try to learn from it as a choreographer. What did they understand about the piece that i didn't? What did they feel strongly about? What were they doing behind my back? What did they know about my creative process that i had never thought of. Interview your dancers. Interview your collaborators. Interview yourself. I can't stress the importance enough.

So hypermedia allowed me to work harder better and more, with more information both during and after the process. This is a good thing. These, to me, seem like new organs/orifices in the dance as a body. It is better for me. I am asking it to evolve, and it is evolving. Now, these may seem like minor evolutions, which is a fine point. One could argue that the hypermedia functions to me like any other choreographic tool used by any choreographer - that it simply allows them to produce something that they like more than if they were doing it without the use of that tool, activity, or way of thought. YES. For this is exactly what it is.

So then maybe this isn't really an evolution, you say. Maybe it's just a new type of activity to add to the countless list of how people make dances. Part of me disagrees with you, but i'll humor you for now. Viddy this, for here is how hypermedia is 100% a new organ for the body of dance:

It negates the biggest assumption/rule that modern dance now adheres to - that dances must be watchable in one sitting, and after that one viewing of the piece, the audience member must have enough of a liking/understanding of that piece. This "judgment" if the piece isn't important in terms of like/dislike (i would argue that i've been interested in seeing a company perform again, even if i really disliked what i first saw because i was interested in it and wanted to see more) but IS important because it leads them to decide that they either "enjoyed the piece" "were moved by the piece" or "were interested by it" which in turn decides a.) if they will have interest in seeing this company perform again and b.) if they will donate to money or volunteer services to this company. We can agree (am i wrong about this?) that a dance company's artistic success is at least partially based on their economic success. So then what this system of dance fosters, is the artistic/economic success of a dance company being based on the test of if their pieces are enjoyable/understanding/interesting IN ONE VIEWING.

Not acceptable!
Not helpful!
and, let me say in the complete and utter seriousness that i parody myself with:
UNSUSTAINABLE!

What other form of art asks us to see a piece of art, and in only one viewing come to all the conclusions we will have about it? Our art is equally complex as any other form, and i maintain that it CANNOT be fully experienced or understood in one sitting. It just isn't possible.

Because of this, we have become self-limiting in our clarity. Now, i'm not saying that the pieces we're making right now are simple. They're not. They're complex as hell, and that's why i'm interested in this hypermedia system to help study them. BUT. We are all aware of that limitation. I'm not saying that our pieces are simple, but i am saying that we're all working under this "rule". What would happen if we stopped putting so much effort in striving for clarity within our work, and put all that effort into making the pieces incredibly complex and made ON OUR OWN TERMS? If we then commit to using something along the lines of hypermedia to help our audience understand what we are making, we can help them how to start to see the pieces we make on our terms, rather than on a different set of limitations that we never wanted in the first place.

Now, please note, i am not saying that the audience will then see what we want them to see in the piece, or be completely directed by what we're telling them. That would fail. What i'm suggesting is that we could start making these dense and complex works and then give the audience a study guide. They will of course take what they are going to take from it. But how can they begin to take, if they don't first have a window in? The best (and maybe one of the only) examples of this is Joyce's Ulysses (which maybe i'll talk more about tomorrow). The man writes a book that is nearly unreadable. It's thick, it's cryptic, it uses made up words, it's complex, and it's epic. If you get through it, there's no way you'll even begin to understand everything that's there in one reading of it. People devote their entire lives to the study of it, and still don't know everything about it. How could they? What did Joyce do? He write a study guide to go along with the novel so that people could begin to access it. Much like a modern dance, it would be impossible to understand everything about it. Even with Joyce's help, everyone sees something different.

So, much in the same way that we must first embalm the body to study it enough to know how to evolve new organs, and we must first grow new organs so that we are able to effectively embalm ourselves - The use of hypermedia allows us to make more and more complex pieces that, through the ability of study, allow us to negate the "need" for a once-seen piece and allow us to make work on our own terms. However, if we have any hope of anyone having interest in these pieces, we have to first educate our audiences about the dances that we are making now, so that they might have the opportunity to love dance the way we love dance. It's all cyclical, it's all symbiotic.

And THIS, in my mind, is why hypermedia is in fact new organs and orifices.
It's evolution, for those that want it.

For those who don't, it seems like it should be a harmless attempt at a new understanding of what dance could be. If it's just an "excuse for poorly made art", as some have said, then it will not be a threat to their perceived security in old/current forms. The only way, it seems, that it would truly be a threat, is if audiences start to feel like the old way needs to go, which (let me assure you as many have assured me this year) won't happen any time soon.

Day F/ix (five + six) - Hypermedia in Action!

Hi All,
First, apologies for my lack of posting yesterday - I thought that i would have time either before of after work, but alas i did not. Such is life.
However, i did spend a good chunk of time uploading a bunch of media to post for you today. As i mentioned in the last post, my thesis work this year ended in the sudden realization that we were not, in fact going to be able to make what i wanted to make, leaving us with an excellent framework and lots of material, but no physical hypermedia. So what i can do, while i can't send you a DVD in the mail - much as i would like to, is to lay out video samples and walk you through what your options and course of action/viewing/navigation might be, were you to be playing with the hypermedia yourself.

And so we jump!
I'm not going to post the full film of The What's Left Over After yet, first because i'm not 100% done editing (it still needs to be color and sound corrected), second because i'm hoping to eventually sell it to fundraise, and third because there's no way i could concisely show the hypermedia structure by looking at the whole piece. So instead i've selected a short sample clip from which to work from. This clip comes about a third into the piece (which runs about 18min live and 19min on film). It is the very end of the lovers duet, which we've also referred to throughout the process/hypermedia as "the letter duet" and "LD2". As you watch it, try to watch it once as you would normally watch any type of media or art.



Now watch it a second time, this time posing the question to yourself - if i wanted to learn more about anything in this clip, and had been told that anything i clicked on would lead to more information and footage, what would i click on?

The visceral outline of this 2:23 long section of the piece is as follows:

1. Larissa Handstand over

XI. Sarah’s Phrase (Rowan + Larissa)

1. Hard fall
2. Pelvis up
3. Venn Diagram Spots
4. Ungulate
5. Sweep Around
6. Connecting Fingers
7. Hand to Face
8. Sweep Forward
9. Hard fall back
10. Pelvis arch
11. Hand to face

XII. Summer Section (Rowan + Larissa)

1. Run Around
2. Sweep around
3. Connecting Fingers
4. Hinge back
5. Tilted lift
6. Arch to floor
7. Awkward thing
8. Walk down
9. Thumb to forehead
10. Giving the letter 2
11. Long slide back

with the bold movements/phrases being the ones that are live links in the hypermedia system (and thus deemed "important" by me in the sense that i decided there was additional information that we could share about them via the hypermedia).

So out of that 2:32 of the piece, there are are eight unique main links (1 section: LD2, 2 phrase: Sarah's Phrase and the Summer Section, and five movements: venn diagram spots, hand to face, the awkward thing, thumb to forehead, and the long slide back). It also should be noted that, had i the time and space (or, hypothetical space, as our predicted lack of space on the DVD is now voided by our lack of actual hypermedia system) that i would have created links for additional movements: hard fall, pelvis up, hard fall back, connecting fingers, walk down, and giving the letter.
ANYWAY.
For the purposes of this seminar, I'm going to focus on a few specific links, as each link has a multitude of videos that goes along with it. They are: (Section) LD2, (Phrase) Sarah's Phrase, and (Movements), and the Awkward Thing and the Long Slide Back.

Let's say you were interested in the Awkward Thing (which is that still moment when Larissa is awkwardly positioned against Rowan so that her shoulders and upper body are against the ground, with her legs braced on Rowan's upright shoulders) and you clicked on it, unknowing what you would find. First (in my ideal world of worlds) the video would freeze, and the item that you clicked (in this case, the awkward thing) would stay in color and illuminated as the rest of the screen went gray and darker. Then a flash animated menu would drop down from the still image of the movement, listing those five categories that i talked about yesterday (1. Evolution/Process, 2. Insights, 3. Meanings, 4. Questions, and 5. Media). Of course this is my fancy in-mind version. But isn't it beautiful?
In this case, because the Awkward Thing only links to three videos, the menu would appear like this:

1. Evolution/Process (2)

• the Awkward Thing's Evolution
• Rehearsal Footage from the Awkward Thing

5. Media (1)

• Connection to Sarah A.O.'s piece "Haunt"

From that menu, you could decide to watch any of the three videos. Here they are:







In much the same way, here's what the menu would be if you clicked on the movement of the Long Slide Back, which to me sticks out as the most iconic image from the piece.

1. Evolution/Process

• Evolution of the Long Slide Back

2. Insights

• Vivi
• Mrs. Sharp
• I.B.
• W.C.
• Rowan

5. Media

• The Music of the Long Slide Back

And here they are:
















From both of these movements, after watching some, none, or all of these videos, you could go back to watching the piece, or navigate through the media web. You could navigate to the phrase (Summer Section) or section (LD2) that these movements came from, investigate specific music or lighting details, or click on one of the "related videos" that came up during one of the videos that you watched (much like a YouTube setup). For example, Vivi mentions making the movement for the Long Slide Back in the first day of rehearsal over the summer, so a link would come up in the related shorts for the short that shows that day's improvisations and rehearsal. Additionally, in the rehearsal footage from the awkward thing, i mention that it's a moment of stillness. While I don't make a direct reference to other moments of stillness in the piece, the link to a movement we called "Lift 1/2/3 Underwater" would come up under related shorts, because it is the other important moment of stillness in the duet.

Now let's say you were interested in something earlier on in the clip, something that wasn't linked, such as the hard fall or the sweep around from Sarah's Phrase. If you clicked on one of these movements, because the movement isn't linked, it would take you directly to the phrase. Phrases are different from movements, in that they would each have a separate "page" - think like a small pop-up web page that would have the shorts for the phrase, as well as a list of all the movements in the phrase, so that you could look at information for the phrase as a whole, or for the individual movements therein. If you clicked on Sarah's Phrase, you would find two videos:





Last, let's say you wanted to find out more about the overall section of the piece. You could navigate backwards from the phrase page, or any of the movements, to get to the larger section page. If you wanted to find out about LD2, you would have the option of choosing from a bunch of videos (only about half of which i'm showing here, as only about half of them pertain to the short clip of the film you saw.
The menu would be:

2. Insights

• Rowan's Experience
• Rowan and Larissa's Relationship
• LD2's Importance to Sarah
• LD2's accessibility

3. Meanings

• Sarah's about

I hope this gives a good example of the type of information that would be offered with the Hypermedia. As you can see - each linked movement/section/or phrase offers a wealth of information, and this is (unbelievably) only about two thirds of everything offered for this 2:32 clip. Let me remind you that the film is NINETEEN MINUTES LONG!!! Fantastic.
I'll offer more insight and analysis on how one might navigate this structure, as well as a discussion of how things could be linked as "related" - which is where the hypermedia really takes off in my mind and stops being about "explaining" and starts being a whole new art form in itself - tomorrow. I think this is probably (more than) enough info for today.
Also, i'm sure parts of it are less than clear - questions?

Day Four - The Hypermedia System for "The What's Left Over After"

A note written at the end: This is LONG. I'm sorry. It's as much for me to have a record and reflect on the process as for you, but for both of us i wanted to be thurough. Read at will.

Hello from New York!
It's so beautiful today, and nice to be back among the hipsters, artists, strangers, and SLCers.
(But i digress.)

SO. I made my claims for why Hypermedia was not only valid, but nessecary for those who wish to adopt it as a format, and I designed the theoretical components of what a hypermedia system might entail. Then it was time to actually put my money where my mouth was and make the damn thing.

To give a quick background on the timeline: I had started work on what eventually became "The What's Left Over After" the summer before my senior year with the A.O. Movement Collective in DC. From the bat, i labled the summer as "research" for the next semster's piece, working on material, ideas, and exercizes through the summer to eventually come up with five short pieces. These pieces were presented seperately throughout our program (which featured three other pieces) but accmopanied by a program note that described their "research" nature and how they would be used the following semester. While i had proposed and outlined a skeleton of my hypermedia thesis weeks before i had left SLC for the summer, I didn't start really developing the theoey, researching, and designing the components until i returned to Sarah Lawrence my senior year. We began work on the new (SLC) version of the piece right away. This is all to say: becuase i was making the piece as i was making the hypermedia (in fact, always a little bit ahead of the hypermedia) sometimes designs or advances in the hypermedia were not created in time to incorperate them into this hypermedia system. For example, one of the ideas of the project was to film everything associated with the making of the dance. However, over the summer i didn't have my camera yet, so i only have footage from three or four out of the forty or so rehearsals we had.

SO.
Starting last fall (my senior year) we filmed everything associated with the dance. Studio times where i would work alone, the audition, rehearsals, showings, feedback, etc. Everything. Working with my tireless film crew (the amazing Rafi Gamboa and Dylan Morgan) we were able to cover just about everything, missing only about 10% (my estimation - just the making of the Venn Diagrams section) of the rehearsals.

We made sure that the AV department was filming both performances (so that we would have historical records of the performance from a still tripod) and then also orchestrated a few shoots to get the footage we needed for the film. We filmed the dress rehearsal with two cameras - one from the bridge/catwalk directly above and in front of the stage, and one from the top left diagonal of the upper level of the PAC (by the sound booth for those of you who are familiar). We additionally blocked off a six hour shoot the day after the performances (when everyne was, of course, exhausted) to shoot the rest of the footage - a still camera in front and from either diagonal (so 3 seperate cameras total) and then an extensive list of close, medium, and moving shots from a number of different perspecitves. Editing the film of the piece together (in a first rough cut) took somewhere around 30 hours, and i was able to have it done by the time we got back from winter break. Damani (one of my two advisors, a teacher in the film department and all around genius) and i continued to edit it for the rest of the year. This was the extent of the movement footage that we took.

Additionally, at the time of the performance, we had set up an "audience talkback" interface to get impressions and questions for audience members after they exited the performance. This interface contained four mac laptops (the kind with the isight camera built in) each with a prompt for the audience member to respond to, as well as directions about how to record your video clip. Questions:
- What images did you see in the peice? Did they remind you of anything you have seen before?"
- Ask the dancers or the choreogrpaher a question
- Was the piece "about" anything to you? If so, what?
- If you have seen showings or versions of this piece before, how did your previous veiwings affect your veiwing of the performance, and your understanding of the piece as a whole?
Audience members were also instructed (i had some wonderful volunteers helping me at each show) that they could disregard the questions and say whatever they wanted. This system proved an interesting expirement, if not 100% sucessful. Problems with the setup included that only about 10% of the audience felt inclined to (or comfortable enough to) leave a video, as well as the fact that the questions themselves still need much tinkering, in terms of finding questions that give the audience member enough of an impulse to speak, but aren't too leading or limiting. I think the crafting of these questions was one of the hardest parts of the process for me.

Moving on. We then got into the interview process, where i filmed interviews with each of my dancers (Michael Charles Foote, Rowan Magee, Larissa Sheldon, Ilona Bito, and Emily Sharp, and from the summer Connor Voss, Vivi Amranand, and Lillie DeArmon) and collaborators (Theo Wilson and Gabe Aronson), as well as had Rafi film an interview of myself (questions written by me, submitted via Audience Talkback, and posed by my dancers, namley Larissa who offered the most interesting questions of the entire project). These interviews ranged in length from 20 minutes to 2 hours. Each dancer and collaborator respectievly were asked the same questions, but with follow up questions of course leading in different directions. Editing these down took a combined total of somewhere around 50 or 60 hours. So that was all the interview footage.

I then spent a short time gathering artifacts - scanning my journals and notebooks from other classes with doodles pertaining to the piece in the margins, video of other pieces, etc. About five hours there - easy brezzy.

The next big step was outlining the dance and the hypermedia. Let me (for a breif moment) describe how hard this was. I remember reading a book that talked about how humankind's biggest evolution wasn't moving to being bipedal, but making the transfer from storing all of one's knowladge in thier head to writing it down and forming a collective human knowladge. The hypermedia, in many ways, feels like the same thing. It would be impossible to hold, at the front of one's attention, ALL the information about the piece (the steps, the choreography, the music, notes for each dance, how each movement was made, what an audience member said about it, what the dancer said about it, where it was made from, what studio we were in etc etc) all the time, all at the same time. The hypermedia is a tool that can contain all of that information, so that the veiwer and the choreographer can look specifically and with great detail at any of these singular aspects of the dance, and the ways that they link up. HOWEVER. To build the system, i did have to reckon with as many of these things as possible at once, holding as much as i could in my head in order to reason out what the clearest way to program it would be. I really do believe that, in working on this project, i've expanded my ability to hold information at least threefold. It's really amazing, but was extrely excruciating at the time - Darla and Ej can attest to finding me with my head in my hands, yelling at the computer screen, muttering that i just couldn't think about everything at the same time.

That being said, outlining it consisted of notating (in my own outline-like way) every movement that happened in the piece (in order, from each dancer) and then priortizing which of these movements were "important" in terms of the meaning or narrative associated with them (meaning that they would, in the hypermedia, be the ones that were "linked"). I ended up breaking down the piece into "Sections" (such as the letter duet "LD2" or "Beekeeper Solo"), "Phrases" (such as "Sarah's Phrase", "Ilona's Exhaustion Phrase", or "Venn Diagrams Accumulation") and "Movements" (such as "Antique", "hard fall", and "the awkard thing"). From this outline, I then cross referenced, seeing how many of these "important" sections, phrases, and movements we had - basically, how many links there would be.

I then went through ALL the footage (rehearsals, studio time, showings, talkback, performances, interviews, other pieces, etc.) and pulled relevant material for each link, crafting them into short films. Some of these films were short little nuggets of a rehearsal interaction or idea, and others were longer "shorts" that combined different types of footage to make a longer exposition of the idea or point at hand.

We then set it up (the outline/framework, i mean. None of this was actually being programed yet) so that each "link" (ie: important movement, phrase, or section that one could click on in the film) to lead to a screen with five sections:

1. Process/Evolution (clips that showed how something was made, the way it changed, the moment we found it, etc.)
2. Interpretations (clips with audience, dancers, collaborators, and myself talking about our interpretations of the final product)
3. Meaning(s) (the plural is important - interviews where myself and dancers revealed the origonal - often conflicting - sources and ideas of where the base material started from)
4. Questions (from audience, dancers,collaborators, etc.)
5. Media (relevant media such as an earlier version of the music or another piece that was influential to the link at hand)

and sorted all the films that we had into one of these five sections. Exceptions to the sections were material that we decided (due to the small size of a DVD and fear that all the material wouldn't fit on one) would be "bonus material" offered on a seperate DVD. This included information about the lights, set, and score, as well as shorts about general topics, such as my creative process, or typical rehearsals.

SO.
At the end, we were left with a mass of material: outlined, organized, and waiting to be linked.
We had (and i'm sorry, these are aproximations, becuase i'm working off of a friend's computer):

One twenty-minute dance film which contained:
9 linked Sections
25 linked Phrases
29 linked Movements
a whopping 234 Shorts, ranging from twenty seconds to seven minutes
232 Artifacts (journal pages, photos, interviews, etc.) and
27 pieces of additional media (including audio files, films of other dances, and films of this piece's performance and summer performances)

This, my friends, is a lot of material.

So then, the downfall.

Initally, we knew that we wouldn't be able to create a real hypermedia system, in the sense that my ideal program is both structured in a unique way (much like the internet with each link linking to a location rather than each having a unique file) utilizing yet-to-be-programed structures, as well as flash animation, which is expensive. So instead we had set out to make a mock-up of this system, a DVD which would look to the used like it functioned in the way we wanted it to, but instead of actually being programed correctly, would utilize lots of tricks and shortcuts - more of a sample to gereate interest and support than the actual media itself.

However, when we began programing, it became clear that (for some reason) DVD Maker Pro (the program we intended to use) wasn't going to work as it would not accept the amount of files. We then moved on to attempting this through iMovie, where we found we could place the links, but not time when they showed up, the result being that every one of the 100+ links would be onscreen - overlaping and in the way of other links - the whole film. Not acceptable.
So we came to a standstill.

I know what i want to do is possible and logically feasible. As Damani put it - when big move execs understand that they can start to make DVDs where, as the kid sits at home watching Transformers, he can click on Shai LeBouf's shoes and immediatly buy them, that's when the techonolgy will start getting developed. So i have to wait for them to make something to further their sweatshop labor before i can use it for my art. How frustrating.
But it is actually possible (and i mean without the sweatshop labor - i don't have time to wait for them anways).
All it takes is a team of programers, a flash designer, and a ton of grant money.

So that's where i stand and, coincidentally, why I was always working this year.
That is a (very) detailed account of the first hypermedia project to come out of A.O. PRO(+ductions) - i'm sure i've missed things and i'm sure parts are unclear, but questions and reminders are always welcome.

Once i'm home i'll start posting vids as samples of these sections and types of media - the good stuff.
Thanks for bearing with me!

Day Two - uses and needs, uses and needs

So what's the logical next step to solve these problems?

Almost two years ago, i began to accumulate some ideas under the general heading of "hypermedia" and proposed and exploration of these ideas as a senior thesis to the powers that be at Sarah Lawrence. Having been a student in Tony Schultz's dance technology class for one semester my junior year, and then returning to it for the entirety of my senior year (you can check out our class blog from this year - Dance Machines - here) i was extremly impressed by the new way of thinking that Tony presented us with.

Rather than using programs that already existed to express artistic ideas and projects (for example: using Final Cut Express to edit a dancefilm or using a time lapse program to capture footage over the span of a few days), we were suddenly being asked to think about the intended final project first, and then design our perfect machine that would help us create and capture it.

To me, this seemed like a drastic shift in my thought and creative process; it was like someone had suddenly made me a very small god. As a creative artist, my understanding of my "job description" has always been somewhere along the lines of creating the "best" piece of art that i can (whatever that means) within (and sometimes breaking with, but always in relation to) the "rules" of a stage or film setting. Suddenly i was no longer asking myself how to create the "best" piece i could for stage or film, but how i could create and engineer a completely new system that would best support and showcase the work that i was making. Do you see how exciting this is? It's reinventing the wheel so that your Chevy Impala (that for some reason truly is unique, has immense unknown value, and is vastly Important to you) runs like a charm. It's reinventing the wheel so much so that (by the time you're done) people will look at your car, and declare it's value somewhere near to that of a jaguar becuase you've engineered it to be that valuable.

Anyways, the question becomes: what do you include to make the perfect dance showing machine? Well, what is it's purpose - what is is being used for? As stated before, this machine addresses multiple problems and therefore has multiple uses. Here are a few possible uses:

• as a teaching tool for potential/current audiences (teach: ways to look at dance, analytical vocabulary, the foundations of the craft that we choreographers use such as time and space, the way the specific piece fits into the larger dance cannon, the way this piece relates to other contemporary pieces, etc. etc.)
• as a teaching tool for teaching choreographers and dancers (teach: specific creative processes, a comparison between choreographers, "background" information in the study of specific dances, etc.)
• as a marketing tool (grab the attention of potential audience members by giving them a "sneak preview" of the piece they' can buy tickets for, educate them on the piece's creation so that they might further enjoy seeing the final product in performance, impress donors with an inside look into the creative process, reach out to people who wouldn't usually want to see a dance performance etc.)
• as a revenue source (sell the final product to interested audience members/company supporters at performances or online)
  
• present a representation of the dance (as identified yesterday as so so so much more than just the performance) that is more holistic, encompassing, and truthful than presenting pieces that are solely performative might feel to certain choreographers (read: me.)
• as a historical artifact of the dance that was created and performed
  
• etc. etc. etc. etc. The possibilities are endless.
  

So what, then are the specific aspects of the dance (according to me) that the hypermedia would need to capture and represent? Of course, this is a small and incomplete list, but it's a start:

• ALL rehearsals, showings, performances, studio times, etc. - anything that shows the physical time spent in the making of the piece
• the performance(s)
  
• references and usage of other works of art within the piece
• references to other dances, both from the choreographer and other artists
• the context (both artistic and cultural) that the piece was made in
  
• the dancer's experience of being a part of the process, understanding of the piece, etc.
• the choreographer's experience of making the piece
• comments from dancers and choreographer at different times throughout the process
• comments and questions from audience members
• the work of any and all collaborators on the piece
• interpretations of the piece from the choreographer, dancer(s), collaborator(s), and audience members
  
• that THERE IS NO WRONG WAY TO VIEW OR INTERPRET THE PIECE!

Tomorrow: Hypermedia Revealed! I'll let you know (and show examples of) everything that they hypermedia is made of. How excited are you??!?! Very.
Stay tunned!

Day 1 - Identify the Probem(s)

So here we go - day one of my Kloster-woman mini tirade/educational exposition of hypermedia.

Before we get into the technology, bodies, or theory of what hypermedia consists of, it's important to understand where my perceived need for it comes from. Why does PMD (postmodern dance - i'll use this here to represent the time period that i'm referring to, not necessarily the specific values or artists) need it? What is this new technology attempting to save us from? What problems does it attempt to address?

Ultimately, from status and stagnancy in our work, and from the eventual unspeakable:
having to stop making work.

1. People don't know what to do with PMD.

People don’t know where to place postmodern dance. While we as a dance community existing in academia may have taken classes in dance history, or at least been educated through asides in dance classes about lineage and styles, people outside the dance community who find themselves viewing dance may not have ever been exposed to this.
New choreographers attempt to redefine what postmodern dance is at a very rapid pace through the self-proclaimed authenticity of their own new work; even if choreographers don’t acknowledge that their work is in response to work in their near historical proximity, postmodern dance is founded on the tenet of breaking with what came before and defining one’s own unique style and outlook. The dance community may be aware of how to contextually view new work, but a non-dancer would have trouble tracking the constant evolution and re-definition of the genre. This leads to problem #2:

2. We make dances primarily for an audience of "dance people".

While i don't think that there's anything particularly criminal about this - why not make art for the specific niche of people that will understand it to the fullest extent? - i think that staying in this place as an entire arts community is actually really hurting us, an inherent weakness that we've yet to address. Many people who are not writers read books, many people who can’t act see theater, and many people who can’t operate a camera or write a screenplay see movies. When non-dance people continually feel that they “don’t get” what they are seeing in a dance performance, thy begin to lose interest with why PMD is important or interesting. Why is this?

3. Ephemerality and permanence.

How many times have we herd the phrase "dance is ephemeral"? Since January, nine. I counted. Ephemerality becomes the excuse for why dance can't be studied, becomes the reason why it's hard to pin down, becomes the nail in dance's economic coffin. Why? Because it actually is. While there are certainly aspects of the ephemeral nature of dance that are extremly positive and exciting, dance's ephemeral nature is the major roadblock for the majority of "non-dance-people" who "don't get it". The audience member is put in the position of not only having to come to terms with an entirely new foreign vocabulary and mode of thought, but also to remember as much as they can about what they are seeing, in the time span of a single piece, sometimes only minutes long. "Some postmodern dance is emotionally resonant with many viewers but some, like a movement equivalent of Joyce’s cryptic Ulysses, requires investigation and study... [audiences then] flat out feel like they “don’t get it” and are provided no way to work towards their idea of what “getting it” might entail. They think that they are supposed to take something from the performance that they have never been told how to understand or appreciate, and feel lost, overwhelmed, and put out by something that they would have, at one point, been excited to be a part of. We then get the view of postmodern dance as cryptic and self-indulgent because we as choreographers are uninterested in or unwilling to teach the audience how to watch what we give them. Additionally, we have yet to create a way to convey to our audiences everything that we are able to see in it as its creators...It is not only interesting, but crucial, to involve the audience beyond the performance and in so doing, create some sort of support system so that the audience has evidence and consciousness of the ongoing process of watching, processing, and understanding a dance piece." (Thesis, 4-5)

3. "as long as the audience can connect to something – one movement – anything, that’s fine with me.”

NO.
WRONG WRONG WRONG.
This is killing modern dance. While the sentiment is on target (that the audience doesn't have to understand or feel attachment to every thing that happens, but hopefully moments will feel important, clear, and moving to them even if the whole is cryptic or dense) the widespread adoption of this tenet is (and i'll say it again) KILLING us. Think about it: if you went to see a dance piece, and you took one thing away from the entire (let's say hour long) performance, wouldn't you want your money back? I would.
Why are we as choreographers settling for “one thing”? It seems inherently compromising to our work, and even more unfair to our audiences. It is a cop out to say that we are satisfied with a singular thing resonating with our audiences. What we really want is for our audiences to understand that there are many things at play in each performance, in each piece, and even in each singular movement, and that any one or combination of those meanings or understandings that they see is inherently right. So perhaps the problem isn’t that audiences aren’t able to “see one thing” in a performance - perhaps out problem is that, as choreographers, this is all we’ve asked them to do. Theo and i were talking about how a characteristic of postmodern work (of many forms) is a lack of caring. He writes:

"The post-modern mindset (identical to hipster mindset) finds caring to be the greatest human weakness, as it renders one victim to heartbreak. The result is a body of work, or a culture of individuals, containing no heart, who care about nothing, and who's pieces are merely illustrations of aloofness. After all, how can anything fail in a world where all rules are meaningless constructs?"

Let's just put it out there: i Care about my work. i Care about the meaning(s) emotions(s) interpretation(s) and ideologies that are present in my work. And i, the choreographer, CARE that you, the audience, see and connect as many of them as humanly possible.

4. "If we tell people how to look at our work, it cheapens the work and makes it less artistic"

again my friends,
NO.
WRONG WRONG WRONG.
When we educate our audiences in how to look at dance, how to understand connections between visceral movement and subvisceral components (subvisc = “The implicit meanings and themes inherent in the viscera of a dance performance.” just like subtext = “The implicit meaning or theme of a literary text”), we simply give them tools to work harder as viewers with. As we give our audiences tools to work harder, we set the standard for ourselves as choreographers higher and higher. If our audiences are working harder, then we better damn well be making work that takes more and more ability, more and more understanding and craft at watching, to watch.

5. For PMD, Product is not equal to Process.
So looking back today (6/10) i realized that this was the one point that this post was missing, so i'm adding it in in hindsight. In dance (and i have always felt this way) performance, to me, is not an acceptable (or at least highly problematic) translation or representation of the process to the audience. Now, i know that the point of performance isn't really to show the audience the process; the point is to show the final cumulation of what you've been making. However, it's always seemed so unfair, un-encompassing, and simply untruthful that the performance never really shows all the gems and excitement of the process, which to me (and i would argue many other dancers) is always the
best part. The dance isn't the performance. The dance is the preparation, invention, audition, context, rehearsal, revision, interaction, showing, reworking, performance, feedback, reaction, and all the emotions and logic associated with those steps of the process. So why are we showing the audience the dance instead of the dance?

and last,
6. The PMD economy is failing, in free fall, kaputz, dead, done, dying.

"I am always surprised at the number of dancers and choreographers I talk to who seem to feel no need to rebel against this system in hopes of changing it. I have often felt the pull of multiple jobs, and my desire to make dance a livable profession comes from my desire to have more time to devote to the work that I love and find important – the making of dances. If dance artists were able to devote their entire work life to dance making rather than downwards of 15 hours a week, then the subtleties and sophistication of the work at hand would increase dramatically. It is important for me to express that this goal then seems to be not entirely an economic one, but an effort to make a shift in the was that artists are able to produce and enrich their work and themselves as artists. By talking about it economically, we are not invalidating the artistic and invaluable nature of our work, only looking at our creative processes realistically within the system in which they function." (Thesis, 9)

The DTW blog recently had a discussion about the need for artists to embrace marketing here, and it's exciting to know that (even while some artists remain adamantly opposed to letting marketing have a place in their artistic vision) many artists are beginning to look into both mainstream and alternative methods with which to propagate and support their art.

SO.
These are the main problems that my "hypermedia solution" is attempting to address.
In the coming days, I'll lay down some of the theory that the program is built on, talk about the process of making and programing it, and post some samples of the program here as well. I would love as many comments and challenges as you care to leave - the only way that i keep developing this work is through the constant evolution of it via feedback of other creative artists and audience members.

More tomorrow!