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Digital Dance: (Dis)Entangling Human and Technology UvA-DARE (Digital Academic Repository) Digital dance: (dis)entangling human and technology Gündüz, Z. Publication date 2012 Document Version Final published version Link to publication Citation for published version (APA): Gündüz, Z. (2012). Digital dance: (dis)entangling human and technology. Rozenberg Publishers. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 Digital Dance: (dis)entangling human and technology This thesis was supported by the Netherlands Organization for Scientific Research (NWO) under project number 017.004.015. © Zeynep Gündüz, 2012 Cover design: Selçuk Balamir Cover Photo: Klaus Obermaier - http://www.exile.at/ko/ All rights reserved. Printed by Rozenberg Publishers Lindengracht 302 d+e 1015 NK Amsterdam The Netherlands [email protected] www.rozenbergps.com ISBN 978 90 361 0328 2 2 Digital Dance: (dis)entangling human and technology ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op vrijdag 23 november 2012, te 10:00 uur door Zeynep Gündüz geboren te Çorlu, Turkije 3 Promotiecommissie Promotores:!Prof. dr. J.F.T.M van Dijck !!Prof. dr. M.A Bleeker Overige leden:! Dr. M.J. Kattenbelt Prof. dr. C.P. Lindner Prof. dr. P.P.R.W. Pisters Prof. dr. S. Rubidge Dr. J.A.A. Simons !!Prof. dr. R. van der Vall !! !! Faculteit der Geesteswetenschappen 4 To my parents and sister 5 CONTENTS Acknowledgements 8 Introduction 0.0 A peculiar duet 11 0.1 Digital dance: an interdisciplinary field 17 0.2 The interactive system 20 0.3 Introducing the objects of analysis 22 0.4 Outline of chapters 24 CHAPTER 1. Introducing ‘The hierarchy of perceptual importance’: Human- centered conventions in dance, theatre, and performance 1.0 Introduction 28 1.1 Staging the hierarchy in theater: 19th century 32 1.2 Staging the hierarchy in dance: 19th century 34 1.3 Artistic hierarchies in the cultural practice of theatre and dance: creation and perception 41 1.4 Counter-practices: performing technologies in dance, theater, and performance in the 20s and 60s, and their recursion in the 1990s 45 1.5 Conclusion 55 CHAPTER 2. Shifts in roles and relationships within the cultural practice of digital dance 2.0 Introduction 58 2.1 The making of Apparition 60 2.2 Changes in cultural practices of dance: creation 62 A. Technically distributed authorship B. Additional technical knowledge required from the choreographer and dancer C. Adjustments via restrictions on spatiality, temporality, and technical virtuosity D. Restrictions: limitation or liberation? E. Looking beyond the human in staged digital dance 2.3 Changes in cultural practices of dance: reception 80 2.4 Conclusion 89 CHAPTER 3. Applied concepts in the literature on digital dance 3.0 Introduction 92 3.1 Anxieties surrounding technological incorporations in the first and last decades of the twentieth century 95 3.2 The conceptual foundations of digital dance: counterbalancing virtual disembodiment in the 1990s 99 6 3.3 Human-centered concepts in digital dance literature 108 A. From frozen to live media B. Body incorporates the technology: Metaphysical Extension C. Body and technology “in dialogue”? 3.4 Conclusion 129 CHAPTER 4. Technological performance in staged digital dance 4.0 Introduction 132 4.1 From quantity to quality: The effectiveness of technological performance 135 4.2 Establishing evaluative criteria of technological performance for digital dance 141 4.3 Analyzing technological performance in digital dance 149 A. Quantification of technological performance B. Qualitative dimensions of technological performance 4.4 Discussion of the framework of technological performance 165 4.5 Conclusion 167 CHAPTER 5. Interperformance: a posthuman perspective of digital dance 5.0 Introduction 170 5.1 Performance as (technical) skills 173 5.2 Machinic performers 182 5.3 Human and non-human agencies 188 5.4 Replacing interactivity with interperformance 193 5.5 Posthuman encounters in theatre, dance, and performance 198 5.6 Conclusion 201 Conclusion 6.1 From assistants to performers: the changing role of computer technologies in digital dance 203 6.2 Unpredictable technological agents 205 Bibliography Appendices 1. Changes in European theatrical presentation 213 2. Changes in European theatrical dance presentation 214 3. Stage plan of Apparition 215 4. Dixon’s model of interactivity 216 Summaries English summary 218 Nederlandse samenvatting 220 7 Acknowledgements !The journey for this PhD project started during a meeting with my supervisor José van Dijck who, reading my MA thesis on digital dance, said “I see a book coming out of this. Would you consider to do a PhD?.” It is first of all her that I would like to thank for her interest in this project and her confidence in my capability to complete this thesis even when I was doubting it myself. I would also like to thank my co-promotor Maaike Bleeker whose knowledge and critical eye have enabled my thoughts and writing to stay ‘in movement’ throughout my journey. !Writing a PhD is one thing, to be able to find the financial opportunity to write it is another. I am grateful to the Dutch Organization for Scientific Research (NWO) for supporting this project. Financial issues need to be operationalized according to certain rules and regulations; a big thank you goes to Benjamin Rous, Gea Lindeboom, Marten Hidma, Hotze Mulder, and Jobien Kuiper for helping me with these matters. I would also like to thank Eloe Kingma, the managing director of ASCA, for her readiness to help me with any problems or questions. !This PhD would not have been completed without the cooperation of the makers, dancers, and media artists of my case studies. Thank you Mark Coniglio, Dawn Stoppiello, Lucia Wong, Robert Clark, Daniel Suominen, Johanna Levy, Frieder Weiss, Gideon Obarzanek, Kirstie Ayre, Klaus Obermaier, Rob Tannion, and Desireé Kongerød. !An important contribution for the shaping of this thesis was the insights I gained during my six-months stay in the UK, at the University of Chichester. I warmly thank Sarah Rubidge, Andrea Davidson, Neil Bryant, Chris Jannides, Tamar Daly, Cat Dinopoulou, and the Murray family. I would also like to thank Johannes Birringer, Gretchen Schiller, Susan Kozel, Kirk Woolford and Scott delaHunta for sharing knowledge and exchanging ideas. !Back in the Netherlands, I am grateful to have my colleagues at Imagined Futures research group with who we not only imagined the completion of our PhD projects but also shared valuable encounters, not to mention friendship. Special thanks to Pepita Hesselberth, Laura Schuster, Jennifer Steetskamp, Martine Huvenne, Maria Poulaki, and Tina Bastajian. I would also like to thank Carolyn Birdsall and Toni Mazel for their support and kind words when I needed them. !Besides Imagined Futures, I have had the luxury of being part of another research group at the University of Utrecht, department of Theater Studies. Not only have I profited tremendously from our discussions, I have also found encouragement to move on. Thank 8 you Jeroen Fabius, Liesbeth Groot-Nibbelink, Nirav Christophe, Ruben de Roo, Konstantina Georgelou, Marijn de Langen, and Joao de Silva. !I cannot find the right words to express my gratitude to Rachel O’Reilly, my editor (and even if i did Rachel would have edited them.) Thank you, Rachel, editor and friend, for your interest in this project, our discussions, your dedication and hard work. A very warm thank you goes to Selçuk Balamir for the wonderful design and lay-out and Thijs Witty for the accurate translation of my summary into Dutch. !If finding the right words to thank Rachel is difficult, finding enough space in this acknowledgement to thank my friends in the appropriate words is impossible. Therefore,I keep it short. Special thanks to: Konstantina Georgelou, Maria Poulaki, Valeriya Krasovskaya, Eva Fotiadi, Özge Özdemir, Güçlü Bigay, Umut Konu", Burcu Onar, Taylan Toygarlar, Elif Deniz-Yılmaz Delzenne, Ekmel Ertan, Müge and Cengiz Ergecen, Isabella Kronberger, Mickey Smid, Joana Paes, Kavita Ziemann, Yurii Khomski, Laura Schuster, Jennifer Steetskamp, Dora Achourioti, and Duncan Harkness. I would also like to express my gratitude to the Sipahi family for their support and attention and Marjan Delzenne for reminding me of my capacities. !Finally, I would like to thank my parents, #ükrü and Fahriye, my sister Ay"egül for their unconditional love and confidence in me. How lucky I am to have you. 9 10 Introduction 0.0 A peculiar duet The dance performance1 takes place in the venue Fabrica in Brighton. The audience looks down from all sides of the theatre upon a square, white floor, which functions as a stage and as a screen. The performance begins with the appearance of three straight, short white lines projected on the floor. The lines move horizontally from the left to the right of the stage during which they extend in length.
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