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Interfacing dance and technology: A ...

Valverde, Isabel Cavadas.

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Interfacing dance and technology: A theoretical framework for performance in the digital domain.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Interfacing dance and technology: A theoretical framework for performance in the digital domain./
Author:	Valverde, Isabel Cavadas.
Description:	445 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2810.
Contained By:	Dissertation Abstracts International65-08A.
Subject:	Dance. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3141982
ISBN:	0496890303

Interfacing dance and technology: A theoretical framework for performance in the digital domain.
Valverde, Isabel Cavadas.

Interfacing dance and technology: A theoretical framework for performance in the digital domain. - 445 p.

Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2810.

Thesis (Ph.D.)--University of California, Riverside, 2004.

My dissertation proposes a theoretical framework intended to contribute to the organization of and critical discourse about the recent burst of performance practices applying digital technologies generally labeled dance technology (dance-tech). I analyze what is at stake in the emergence of these new forms of performance and art making, based on ongoing discussions undertaken by artists, technologists and theoreticians concerning the changing status of corporeality as a consequence of the global impact of information technology in society and life.

ISBN: 0496890303Subjects--Topical Terms:

610547
Dance.

Interfacing dance and technology: A theoretical framework for performance in the digital domain.
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100 1 $a Valverde, Isabel Cavadas. $3 1928970
245 1 0 $a Interfacing dance and technology: A theoretical framework for performance in the digital domain.
300 $a 445 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2810.
500 $a Chairs: Susan Leigh Foster; Jacqueline Shea Murphy.
502 $a Thesis (Ph.D.)--University of California, Riverside, 2004.
520 $a My dissertation proposes a theoretical framework intended to contribute to the organization of and critical discourse about the recent burst of performance practices applying digital technologies generally labeled dance technology (dance-tech). I analyze what is at stake in the emergence of these new forms of performance and art making, based on ongoing discussions undertaken by artists, technologists and theoreticians concerning the changing status of corporeality as a consequence of the global impact of information technology in society and life.
520 $a I introduce dance-tech by identifying its theoretical, artistic and historical ties in order to understand why and how dance and performance artists have turned towards digital technologies1, as well as the consequences of this investment for (concert) dance identity. Recognizing the role of bodies and information technologies in their mutual constituency as crucial to this research paradigm, my approach is informed by key hybrid theoretical contributions pertaining to critical theory---body politics, cultural studies, feminist theory, and technoculture---as well as performance and dance studies. Synthesizing the merging of physical and virtual realms, I conceive dance-tech as an interface , and relate this notion to the rising of new cyborgian/posthuman embodiments, modes of interdisciplinary collaboration and choreographic practice and production. This interface framework attempts to provide a possible way of systematizing the dance-tech amalgam, by understanding dance-tech as distinct but not mutually exclusive types of interfaces. Dance-tech interfaces are perceived as major modes of mediatized experience and representation involved in the interaction amongst (physical-virtual) participants and those elements that constitute the works.
520 $a The main question I ask is: How can this dance-technology interface framework instigate reflection and action with artists, technologists 2, and audiences, towards possibilities for agency through corporeality and art in information society? Therefore, this investigation of dance-tech interfaces will focus primarily on work that attempts to challenge long lasting static boundaries, dualisms, and fixed hierarchies between body and technology/mind, artists and technologists/art forms/audience, work process and product, and form and content. This challenge is undertaken by both the projects and my analysis not only through deconstructive tactics alone. It also encompasses alternative strategies and stances to the mainstream tendency to celebrate technology within an increasingly hierarchical, elitist, and global corporative art world and society.
520 $a 1Alongside this move of dance towards digital technologies I will also include the converse move of visual/music/digital artists towards dance. 2Although posed as two separated subjects, I want to acknowledge the fact that there are dance artists and technologists with expertise in both areas. The interweaving between the two has always been part of (the definition of) art.
590 $a School code: 0032.
650 4 $a Dance. $3 610547
690 $a 0378
710 2 0 $a University of California, Riverside. $3 791122
773 0 $t Dissertation Abstracts International $g 65-08A.
790 1 0 $a Foster, Susan Leigh, $e advisor
790 1 0 $a Murphy, Jacqueline Shea, $e advisor
790 $a 0032
791 $a Ph.D.
792 $a 2004
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3141982