thanks for the good responses, Olga,
sorry that I cannot keep up all the time with the flow here
>> Suzy followed up on Danny's post regarding the Wellcome Collection>>
Danny: Thanks a million Danny, I didn't realise the Wellcome Collection was such a young organisation!
You mention that your collaborations operate at a project level, but I wonder how this media/art/gaming strand of programming sits within the wider curatorial structures at WC, are they perceived as curatorial or educational (or both)? ......>.
I was also surprised when I read Danny Birchall, and then several questions came to my mind, about the art / science nexus at the Wellcome and the exhibits
I had seen. Danny you seem to work more with games? how do they fall into the sci-art nexus or is "digital presence & work on art, media and game projects"
a new and a different avenue?
The project that attracted my attention really was a collaboration between choreograophy/dance practice (Wayne McGregor) and cognitive science, and I remember being very excited
and gong to the opening, and a second time a few weeks later to dig into "Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance"
(Thursday 19 September 2013 - Sunday 27 October 2013).
I had been alerted to the project, which went on for a few years, by Scott deLahunta, whom some of you may know, he has been the research director on the Choreography/Cognition projects and the more recent collaborations Wayne McGregor/Random Dance have undertaken; this research involved notions of "becoming" (dancers are rehearsing with 3D glasses, and are able to glimpse & respond to choreographic creatures or 'objects' (programmed by Marc Downie and Nick Rothwell, in collaboration with social anthropologist James Leach), and another one is titled "concept tracking."
I made some notes during the viewing but cannot find them; the challenge here was obviously how to "exhibit" or create a visual display of "research" (not the dance of Random as such, or the rehearsal process, clips of which we see); about how dance/dance research as embodied practice can be "translated" into an other "format" or rendition not embodied (wall diagrams, video, text, diagrams etc). and very often I felt not fully satisfied or frustrated, but at the same time, to see such dance/performance &cognitive/science research given such a prominent, visible platform in central London at the Wellcome Trust Foundation is a wonderful and exciting achievement.. But questions
about curating research remain for me, would you perhaps have a comment, Danny? or other here who deal with temporal-phyisical-digital processes?