Page 54 - AC/E Digital Culture Annual Report 2016

54Le mouvement de l’air, by the company Adrien M and Claire BMey, created the performance Light Music20 to explore the interrelationship between the movement of bodies and the creation of sound. With Oui21 by Billie Secular and Ladonna Matchett proposes a narrative play on communication based on an object located in the centre of the stage equipped with a movement sensor (Wiimote) that allows the audio to be manipulated.• One of the most proli c creators is Hiroaki Umeda and his company S20. Their shows Adapting for Distortion22 and HolisticStrata23 recreate virtual environments using audiovisual e ects and sound rhythms.The company Chunky Move, a regular at IDN festival, has also experimented with projections that react to the performers’ movements and become a further extension of their bodies in Glow.24• Klaus Obermaier, together with Ars Electronica Futurelab, creates a real-time interactive dance performance in Apparition.25 And in a previous show, Le Sacre du Printemps,26 he experimented with stereoscopic dance generated in real time.• 3D projection mapping is part of some of the shows performed by the Anarchy Dance Theatre, such as Seventh Sense,27 in which it interacts with the dancers depending on the movement performed and the surface onto which it is projected.• Quixotic Fusion created a dance, circus and video-mapping piece for TED entitled Dancing with Light.28 And Tom O’Donnell joined forces with MIDASpaces to develop the performance The Midas Project29 to show the changing relationship between technology and human being.• Wayne McGregor and Random Dance have even developed the interactive digital software ‘Becoming’30 as a tool for choreographic creation. Similarly, the group prince_mio has devised ‘Path nder’,31 a visual language that recreates choreographies related to urban dance.But where is the boundary between the living, inert and animated bodies that perform a show?But where is the boundary between the living, inert and animated bodies that perform a show? Does the arti cial condition the human? And is the reverse true? Or, going even further, what does it take to convert a robot into a person? Are the performers’ feelings and emotions essential to bringing a live performance to life? Should we also envisage a robot audience?• Choreographer Hyuang Yi created the show A Duet of Human and Robot32 with the robot Kuka as a re ection on the interaction of machine and man.Apparition, by Klaus ObermaierHOW THE PERFORMING ARTS ARE CHANGING IN THE DIGITAL AGE · PEPE ZAPATA