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JUSTIN PECK |
Part of an installation of pop-artist Takashi Murakami’s exhibit at the Brooklyn Museum of Art. The entire room contained this expansive flower print, which was able to thoroughly exhaust the color receptors in my eyes within minutes.
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| Posted by Tony Schultz
This past weekend my student I’Nasah Crockett, from the Dance Technology class at Sarah Lawrence College, had her first “real” NYC performance at The 4th Annual Brooklyn Dance Sampler at BRIC Studios. The piece Body Machine: Plot was a solo dance concieved and staged by our friend Dana Karwas.
The assembly was envisioned by Dana as a simultaneous exploration of past, present and future. Two videos were projected onto the back of the performance space. These formed images of both the past and the future. I’Nasah’s presence as the dancing body constituted the present mode.
Dana’s time machine gave I’Nasah’s movements agency in transforming the images of past and future. A computer/camera system was used to track color markers on I’Nasah. These signal were used to erase the image of the past and construct the image of the future.
The evaporating ghost image of the past was a prerecorded solo. A picture during production is shown below. Seeing the physical interaction between Dana and I’Nasah during the recording felt like watching a duet.
The ghost of christmas future was a virtual architecture constructed in OpenGL using the same system Dana used in Visible Cities. Dana, I’Nasah and I all spoke about the geometry of this architecture and its likeness to Superman’s Fortress of Solitude as a cenotaph made of crystalline memory.
I was happy to facilitate this collaboration between architect and dancer. I’Nasah enjoyed the process and felt it was a good experience. To see more footage of the work and more of Dana’s work visit her website.
| | Posted by Tony Schultz
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