| CODE | DCS2008 | ||||||||||||
| TITLE | Technology and Interdisciplinary Performance 2 | ||||||||||||
| UM LEVEL | 02 - Years 2, 3 in Modular Undergraduate Course | ||||||||||||
| MQF LEVEL | Not Applicable | ||||||||||||
| ECTS CREDITS | 5 | ||||||||||||
| DEPARTMENT | Dance Studies | ||||||||||||
| DESCRIPTION | This is the second of two study-units designed to bring together collaboration and devising practices with interdisciplinary work and to explore the artistic opportunities presented by selected forms of technology. In this second semester, students will explore (through play, practice and theory) how technology (e.g. digital video, animation or motion capture) can be utilised effectively in the devising and realisation of a performative event based on one or more of the following areas: how digital technologies change attitudes to composition and to modes of presentation; how interactive technologies can alter perception of dynamic and space; what kinds of interactive installation? outside/inside locations; live and virtual performers; web-based collaboration; a specific art/science collaboration which has been researched. through a number of specific case studies which exemplify this synthesis. Students will be assessed on the realisation of the specific collaborative performative event. Study-unit Aims: - To help students achieve expertise in the use of various technical apparatus necessary to realise the demands of production in live and recorded media; - To facilitate new technologies such as film and sound editing, sampling and composition, and digital and media arts; - To engage in collaborative performance-based research; - To interpret and apply technological frameworks which may surround performance events; - To take these into account with creativity and imagination in the creation of performances. Learning Outcomes: 1. Knowledge & Understanding: By the end of the study-unit the student will be able to: - Achieve expertise in the use of various technical apparatus necessary to realise the demands of production in live performance and/or recorded media; - Use new technologies such as film and sound editing, sampling and composition, and digital and media arts; - Engage in collaborative performance-based research; - Identify and interpret technological frameworks which surround performance events and take these into account in creating and/or interpreting performances; - Effectively collaborate in the creation, rehearsal, performance and communication of live and mediated performance. 2. Skills: By the end of the study-unit the student will be able to: - Describe, theorise, interpret and evaluate performance texts and performance events which embrace technology from a range of critical perspectives use a range of techniques within these frameworks to initiate and undertake the generation and analysis of data and information; - Effectively collaborate, create, rehearse, perform and communicate in live and mediated performance. Main Text/s and any supplementary readings Indicative Bibliography: - Broadhurst, Susan and J. Machon (eds.) 2012. Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity (Palgrave) - Carver, G. and C. Beardon. (eds) 2004. New Visions in Performance: The Impact of Digital Technologies (Netherlands: Swets & Zeitlinger) - Dixon, Steve. 2007. Digital Performance: a History of New Media in Theater, Dance, Performance Art, and Installation (Mass: MIT Press)- Dodds, S (2004) Dance on Screen, Palgrave - Dunham, R. 2015. Stage Lighting: Fundamentals and Application, (New York: Routledge) - Laumond, J.P., and M. Abe. 2015. Dance Notations and Robot Motion, (Springer) - Kozel, Susan. 2007. Closer: Performance, Technology, Phenomenology (MIT Press) - Popat, Sita and S. Palmer. 2009. 'Dancing with Sprites and Robots' in Jo Butterworth and Liesbeth Wildschut (eds.) Contemporary Choreography: a critical reader (London and NY: Routledge) - Dinkla, S. & Leeker, M. 2002. Dance and technology: moving towards media productions (Berlin: Alexander Verlag Berlin) - Giannachi, Gabriella. 2004. Virtual Theatres: an introduction (London: Routledge) - Hopgood, Jeromy. 2015. Dance Production: Design and Technology (Focal Press) - McPherson, Katrina. 2006. Making Video Dance: A Step-by-Step Guide to Creating Dance for the Screen, (London: Routledge)- Mitoma, J (2003) Envisioning Dance on Film and Video, Routledge - Rosenberg, D. 2015. The Oxford Handbook of Screendance Studies, (New York: Oxford University Press) - Rubidge, Sarah. 2009, 'Performing Installations' in Jo Butterworth and Liesbeth Wildschut (eds.) Contemporary Choreography: a critical reader (London and NY: Routledge) - Scheer, Edward and Rosemary Klich. 2011. Multimedia Performance (Palgrave) Websites: www.xsens.com/en/company-pages/company/mo-cap www.choreocog.net http://www.dance-tech.net/ www.embamb.com www.carolbrowndances.com www.trajets.net www.sensuousgeographies.co.uk Videography Happy Feet Atavar |
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| ADDITIONAL NOTES | Pre-requisite Study-unit: DCS2007 | ||||||||||||
| STUDY-UNIT TYPE | Independent Study and Group Learning | ||||||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Margaret Jean Westby |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2025/6. It may be subject to change in subsequent years. |
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