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Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance

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Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Margaret Jean Mather Westby A Thesis In the Department of Centre for Interdisciplinary Studies in Society and Culture Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities, Fine Arts) at Concordia University Montréal, Québec, Canada February 2017 © Margaret Jean Mather Westby, 2017 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Margaret Jean Mather Westby Entitled: Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Performance and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Humanities) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: _______________________________________________________ Chair Dr. Brad Nelson _______________________________________________________ External Examiner Dr. Susan Kozel _______________________________________________________ External to Program Dr. MJ Thompson _______________________________________________________ Examiner Dr. Krista Geneviève Lynes _______________________________________________________ Examiner Dr. Mark Sussman _______________________________________________________ Thesis Supervisor Dr. Christopher Salter Approved by: ______________________________________________ Dr. Bina Freiwald Graduate Program Director February 8, 2017 ______________________________________________ Dr. André Roy Dean of Faculty of Arts and Science Abstract Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Performance Margaret Jean Westby Ph.D. Humanities Concordia University 2017 Empowering the Female Machine: Remapping Gender Dynamics in Technologically Augmented Dance Performance makes a “mess” of dance through the framework of feminist Science and Technology Studies (STS). Briefly defined, the practice and performance of technologically augmented dance combines human and machine-based actions, where a feedback loop occurs between technical apparatuses and a body in motion in real-time. My research question asks: in collaborative projects involving dance and technology, how do issues of agency, materiality, and gendered subjectivity arise, operate, and govern both research and development and the production processes? I argue for a historical account of gender, technology, and dance and question the very terms of relationality by articulating these dynamics that occur through particular modern and postmodern epistemic regimes. As a female dancer and technologist, my experience produces a unique form of situated knowledge and kinesthetic sense that serves as my foundation of analysis. Through the lens of artistic practice, I weave together four distinct narratives to illustrate the complexities arising from distinct social contexts of technologies and bodily techniques in operation from the early twentieth-century to the present times. First, the historical work of modernist artist Loïe Fuller, in particular her 1895 Fire Dance, complicates notions of femininity by transforming the performance space into an entanglement of agents. Second, Yvonne Rainer’s 1966 Carriage Discreteness from 9 Evenings outlines the shift into early computational machinery and the Space Age where her work was a successful intervention into queering technology, dance, and gender in the performance event. Third, Troika Ranch’s 2009 loopdiver, with dancer and choreographer Dawn Stoppiello and musician and computer programmer Mark iii Coniglio, reveals the persistence of control in the digital era in the process and development of their work and highlights an emotive and female-centric experience of a cyborgian body. Finally, my own research-creation practice Orbital Resonance (2014) will address current issues in collaborative artistic practice that combines a multiplicity of gender identities and expressions through an interdisciplinary approach. Through these artistic works, my goal is to reveal a feminist STS method of making and doing the act of technologically augmented dance performance. iv Acknowledgements Through this complex and often messy journey in completing my dissertation, I have quite an extensive list of institutions, people, animals, and others to thank that have made this possibility a reality. I am grateful to have received crucial fellowships to support and allow my journey to even begin. First, the generous entrance fellowships granted by Concordia’s Faculty of Fine Arts and Concordia University Full Tuition Recruitment Award solidified my decision to pursue my PhD Humanities in Montréal. As an international student, Concordia has graciously continued to fund my projects, research, and travel for conferences and artistic presentations throughout the tenure of my stay. I particularly want to thank the PhD Humanities Director Dr. Bina Freiwald for my entrance into the program and our faithful support system Sharon Fitch. For my research-creation project Orbital Resonance, I received essential financial support from Hexagram | CIAM Student Grant. This was quite a large-scale project with a multitude of research labs and people to thank for their contributions. First, my lovely collaborator and friend Nikolaos Chandolias that made this experience so enjoyable and rewarding. I look forward to our future artistic endeavors and continued friendship. I would like to thank my additional collaborators and performers Anne Goldenberg and Doug Van Nort, who both humbly accepted our invitation to join the project and were so giving in the interview process. Anne - I am glad I found you through a previous interest in your work and am forever grateful for your care in everything you do. I am indebted to Hexagram, Topological Media Lab, and CEREV lab for rehearsal space and technical support to realize our vision. Many thanks also to Omar Alfaleh, Elio Bidinost, Navid Navab, Julian Stein, Jérôme Delapierre, Lauren Osmond, Nina Bouchard, Michael Montanaro, and Sha Xin Wei. Additionally, I would like to give thanks to Marcello Licitra and Jeff Hanson for their help on designing and building the wooden platforms. Finally, a huge thanks to Lex Milton - you are one of the most kind-hearted and helpful people I have met that always encouraged me to keep going. v For my dissertation work, many thanks to the La fondation Daniel Langlois pour l'art, la science et la technologie, New York Public Library for Performing Arts, and Getty Research Institute for archival research and documentation. I would like to thank my transcriptionist Pat Randel from Dalhouise University that navigated multiple accents and odd conversations elegantly. A huge thanks to Dawn Stoppiello and Mark Coniglio for answering my questions while graciously hosting and welcoming me to watch your new work Swarm. Ever since my first encounter with your work in 2006, I continue to be indebted to both of you for your inspiration and mentorship throughout my development as an artist and researcher in this field. You both are such talented artists and lovely souls. The Centre for Interdisciplinary Studies in Society and Culture attracts some of the most caring, gifted, and motivated emerging scholars from around the world. I have been fortunate to meet, to think, to collaborate, and to befriend many of my colleagues that have made this experience so worthwhile. In particular, I would like to thank Shaun Gamboa, Mark Gaspar, Florencia Marchetti, and Jaclyn Meloche for their friendship and support during the multitude of stages in this process. For keeping me afloat artistically and academically, I am so fortunate to have such a talented colleague Ardath Whynacht as my friend and collaborator. Finally, a huge thank you to Joanna Donehower for your amazing friendship, endless help, and motivation to finish! From the beginning of this journey during my undergraduate degrees, I would like to acknowledge my advisor Andrew Warshaw, who, still to this day, encourages my growth as an artist and researcher. His words have guided my research from the start, “She demonstrates a thorough understanding of key issues and problems of conceptualization of dances with digital, interactive components – the agency of action; the situation of images of embodiment and disembodiment; the technological means.” I thank you very much for your continued friendship and advice. At Concordia University, there are a multitude of professors that truly inspired, challenged, and supported my livelihood and project that deserve recognition. I am grateful to Dr. Craig Morrison, who continually offered me Teaching Assistant positions. Your classes were an absolute pleasure to attend and I am thankful for our friendship that grew out of this experience. vi You provided much needed financial and emotional support. For their generous time, support, and wisdom, I thank my stellar committee of Dr. Christopher Salter, Dr. Krista Genevievè Lynes, and Dr. Mark Sussman. Mark, I thank you for your calm confidence and historical knowledge for my project. Krista, I am so thankful for your detailed and necessary feedback especially at the latter stages of the dissertation. Chris, although this path has not been easy, I thank you for your openness to the process and your vigor for academic and artistic excellence. And to Dr. M.J. Thompson -- you truly are an inspiration. From the opportunities
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