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UID:20240521T140451EDT-6472poHoHg@132.216.177.157
DTSTAMP:20240521T180451Z
DESCRIPTION:Dance and/as Technology: More-than-Human Choreographies\, Perfo
 rmers and Audiences aim to bring together scholars\, choreographers\, tech
 nicians and dancers to talk and think about the intersection of dance and 
 today’s new and emergent media such as virtual or augmented reality (VR/AR
 )\, robotics\, motion capture technology (mocap)\, artificial intelligence
  (AI) applications\, and other animative and choreographic interfaces.\n\n
 Scientists\, filmmakers\, artists and choreographers have historically use
 d dance to test and experiment with new media\, such as electric stage lig
 ht\, film\, and animation techniques like rotoscoping. This history frames
  dance as a networked\, relational practice which extends the notion of “b
 ody” beyond the human as a discrete entity. The dancer (relational\, respo
 nsive\, trainable\, curious) is an excellent tool through which to explore
  both the limits of new technologies\, and the effects of those technologi
 es on the human body\; in combination with interactive and immersive techn
 ologies\, dance also contributes to the production of new kinds of non-hum
 an\, animal\, machinic and abstract bodies\, choreographies and audiences.
 \n\nBecause dance is traditionally associated with the expression of human
  interiority/emotion and live\, in-the-flesh performance\, it is often fra
 med as technology’s opposite. As a starting point\, however\, we contend t
 hat dance and technology are not oppositional terms. \n\nPresenters will b
 e responding to many of the following questions:\n\n\n	Where does the organ
 ic human body exist (or persevere) in dance\, especially in relation to “b
 odies” such as robots\, avatars\, digital renderings and filmic or animate
 d traces?\n	When does kinetics become performance?\n	How do new capacities f
 or virtuosity (digital plasticity and the immortal\, unfettered animated o
 r robotic body) impact both the possibilities of dance creation and the au
 dience’s experience of watching dance?\n	How are robotic\, digital or holog
 raphic dancers different (affectively\, ethically\, materially) from human
  dancers and what are the procedures that construct and govern them?\n	How 
 do new media forms simultaneously circumscribe and expand our notions of t
 he dancing body and its limits?\n	How do markers of difference such as race
  and gender factor into new media dance projects\, where the dancing body 
 might be abstracted or morphed beyond its corporeal politics?\n	How do hist
 ories of surveillance and biometric governance come to bear on/produce or 
 inform dancing bodies and choreographic practices?\n	What role does screen-
 based\, immersive or interactive media play in the consumption and circula
 tion of mediated dance\, and how do new and innovative methods of screenin
 gdance works change our relationship to watching such performances?\n	How m
 ight collaborations between dancers\, choreographers and new media practit
 ioners open up new channels for relationality and imaginative futures? How
  do these new technologies and modes of creation fundamentally change the 
 practice and experience of dance (or of being a dancer\, or a choreographe
 r) today? What new forms of work\, affective labour or even exploitation e
 merge from these collaborations?\n	What value (commercial\, aesthetic\, emo
 tional\, etc.) does dance hold today\, for new media artists and practitio
 ners?\n	How does the rise of AI under advanced capitalism inform dance as a
  practice\, institution\, and cultural exchange?\n	What kinds of affects\, 
 philosophies and critiques emerge from today’s collaborations between danc
 e and new media?\n\n
DTSTART;VALUE=DATE:20240501
DTEND;VALUE=DATE:20240503
LOCATION:CA\, QC\, Montreal\, H2X3P2\, Agora du Coeur des Sciences de l'UQA
 M\, 175 Av. du Président-Kennedy
SUMMARY:Workshop: Dance and/as Technology
URL:https://www.mcgill.ca/channels/channels/event/workshop-dance-andas-tech
 nology-356789
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