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Digitalizating Dance and Embodiment in Cinematic Environments
Dance is a communicative process. It is an art form based on the transformation of the self through the active use of the body. This body is never perceived as a rational entity separated from the senses, but in the contrary as result of the dialogue between body and mind. Dancing is thinking, acting and sensing at the same time, a performative act rooted in enactment, where the subject is fully aware of all the needed stages to communicate a rehearsed message. Being embedded in the world, the dancing subject is full of memories, ideas and feelings from which tangible information can be triggered and later presented as knowledge. During the last decade of the twentieth century, the relationship between dance and digital media has allowed the invention of new ‘dramatic forms and performance genres emerged in interactive installation and on the Internet’ . The other development of software programs as well as educative and disseminating CD and DVD-ROM’s have allowed the development of a new form of dance documentation and representation where all layers of kinetic, oral transmission and experiential knowledge could be transposed. New media titles and web sites dedicated to the analysis and visualization of dance, digital archives containing a wide-range of documents together with interactive installations enhancing physical experiences, have been developed by artists and dance researchers in collaboration with researchers and artists from other disciplines. As result, the role of the body within dance praxis changes position from being an expert trained in the retention of knowledge, a living archive of experiential knowledge and memories result of a praxis based in oral transmission, to a body that is enhanced through the use of digital media overcoming its disappearance and ephemeral nature. Dance digitalization appears as a new space of performativity where the cognitive principles and structures are hidden behind the form and performance of dance.
On the other side, late developments in 3D interactive digital environments such as video games, interactive installations, sensor reactive mobile phones and tactile interface, make use of physical interaction between human and machine and or human to human machine interaction. Such devices make use of an embodied experience where movement is central to access, manipulate or alter information within an interactive communication process. The kind of physical interaction being used within these different devices goes further than just as Manovich proposes being a ‘ navigable space’, but where the body merges with the device. Still most devices have 2D interfaces where the media is limiting perception in regard of the modes and development of interaction. Impetu and curiosity is placed in the innovation of 3D interactive environments where digital media can be mixed with other kind of media and where the role of the body and movement become more relevant. Whereas in normal 3D cinema environments the viewer is fixed, we are searching for a physical 3D cinema environment, where the user can become physically active. The installation PARADISO is 3D space where the body can sense, move and experience a physical story.
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