Thanks much, Danny,
for your reply and the comments you make,
and I can see of course that such research work is presenting some particular challenges, thanks for giving us the new link to Thinking with The Body
and for reminding us also of the tool ('Becoming') that (in my memory) was exhibited as a kind of generative/interactive installation that seemed to respond to or engage one's facing it or moving towards it -- it
was troubled the night I was there and got stuck, but on another night it was quite beautiful, and naturally it made me wonder how the dancers in rehearsal work with a creature like that
immanently and let its graphic behavior affect or influence (or not) their movement improvisation or bodily experiences/proprioceptions.
Now also after reading Liam,
I make stuff, predominantly for museums and galleries but also for commercial clients and occasionally private Individuals. This stuff, is often digital or new media, as with my research into AR, but is often very physical, making furniture or landscaping a playground for example.
my comment was in fact meant to address the question of how to curate the research dimensions of an artistic or science based or archaeological or tissue culture or landscaping playground, developing wearables, creating movement and intermedia research related process, the findings, prototypes, performances, and thus also what Liam refered to as "organic developmental processes"?
I try to avoid the 'sci-art nexus' wherever possible ;-0 ... more seriously, games are definitely part of a wider engagement mission around our collections and exhibitions.
Thinking with The Body was a really interesting project for us -- it was quite experimental, and was displayed in a temporary gallery during a renovation process. For me, the subject matter was definitely one of the hardest exhibitions that I've worked on. That process of research was hard to communicate to visitors not already familiar with dance or neuroscience. In the gallery it was possible with various exhibits to try to get the visitor to think with their own body; online that's obviously much harder.
Our archive of the show is here:
-- one of the loveliest parts of it was Nick Rothwell and Marc Downie's 'Becoming', a work that continually iterated images based on a film source, and which was used in the studio as a tool. I was keen to have this stream its images onto the web via a tumblr or something, but internal network problems naturally bested us....
From: Curating digital art - www.crumbweb.org [mailto:[log in to unmask]] On Behalf Of Johannes Birringer
Sent: 11 March 2015 22:03
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Subject: [NEW-MEDIA-CURATING] curating body thinking
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?
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