AliAreaArt” is a term coined by combining “Alien,” “Area,” and “Art. It generally corresponds to an installation, but also includes spatial extensions that include the metaverse (virtual space) of the XR era in its scope.
To facilitate connections, the artist selected environments conducive to replication in the viewer’s browser. The panoramic, 360°format encourages the viewer to proactively explore the video works, as well as the evolving nature of our internet-connected world. To that end, the artist suggests using a smartphone for an optimal experience of the work.
This work, developed as a new way to experience contemporary dance, has realized a new dance audience experience for the first time. We assembled the cutting edge Computer Graphics, haptic sensors which directly express the dance to the body, 17 stereophony channels and research on Virtual Reality techniques to realize this work.
This work examines sculpture issues from a dance perspective.
Why has sculpture hidden itself from the high road to installation forms, as if the installations have taken over the sculpture work places…
Sculpture has only had abstract themes for the last 100 years. Humans have focused on thinking about human beings: how to perceive and materialize the volume. We seem to have forgotten this long-term discussion.
I have re-approached this issue from a performance point of view with my movie shooting techniques.
The assemblage technique that Rodin had approached was to create each of the body parts individually, assemble them together and finally create one statue with all the parts together.
In shooting movies, we pay considerable attention to avoid having the camera or crew captured in the movie. This preserves objectivity in the movie; if the camera or crew is captured, the movies gain subjectivity; this is a matter of movie language.
In this work, we shot everything by moving the camera around, to displace the existing movie language. We also painted the background black, set mirrors on the wall and shot with a selfie stick to eliminate depth and gravity. In addition, we used a 3D camera to create volume, which is an important issue for the sculpture.
The object of this work is to reconstruct and illuminate the separated body parts into one body image.
Presentation:
[ダンスする内触覚的宇宙の開発]
The 18th Japan Media Arts Festival, Project to Support the Nurturing of Media Arts Creators
THE NATIONAL ART CENTER, TOKYO
2015.2.11
Exhibition / Performance Construction & Performance: Megumi Kamimura, Shinichi Takashima, Richi Owaki N3 ART Lab | Yamaguchi, JP Performance: 4Oct2014 | Ongoing FES 2014, Art Center Ongoing (Tokyo JP) 26July,2014 | Artist residence in Studio IMAICHI, N3 ART Lab (Yamaguchi JP) Exhibition: 27July – 28Aug,2014 | Artist residence in Studio IMAICHI, N3 ART Lab (Yamaguchi JP)
Installation (Open Studio) / Performance Construction: Richi Owaki, Ryuichi Tani Cooperation: Kyoko Ifuku Artist residence in Studio IMAICHI, Studio IMAICHI (Yamaguchi JP 2014)
A work with Ryuichi Tani in a one-month open cooperative project and exhibition.
Memory has different faces ranging from working memory, which is short-term memory, to various memory levels. I assumed that conscious has different faces too. We experimented to schematize the relationship between consciousness and instinct.
劇作家の谷竜一との共同公開制作と展示を約1ヶ月にわたり行った。記憶には、ワーキングメモリー(短期記憶)を始め様々な段階があることが知られているが、意識にも深度や段階があるのではないかと考えた。この制作ではこの点に注目した。
Festival International de Vidéo Danse de Bourgogne entry (Bourgogne FR 2013)
*only ENTRY
YCAM10th “Film Competition for imaginary Film Music” entry (Yamaguchi JP 2013)
Conceived as an “interface for a permanent preservation of the dancer’s movements,” this video dance piece is based on the novel idea of producing images and sound first, and subsequently programming a data-choreography out of the single elements.
Three displays are embedded in the venue’s floor, while sensors detect the visitor’s movements. The displays show vivid projections of the contact points with the floor of an improvising dancer, and by moving around in the exhibition space, the visitor adds an element of chance to the generated sequences of footage on the displays. (All the sequences are consisted by five parts of scenes, which includes 55 footages.)The soundtrack is composed of the sounds of the body movements and of their contacts with the floor, and music performed by Otomo Yoshihide based on footage of body movements.
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About the system This work consists of three projected images, and an additional one that the computer program calculates with. The three connected images are displayed in the form of projections and sounds in the exhibition space, while the fourth is available as a sound channel only in the adjacent patios on both sides of the exhibition space. Here the visitor can try and imagine the fourth, non- visualized image while listening to the soundtrack. Further, the sequences of images and sounds on each display follow rules based on Fibonacci numbers, and are at once determined by the dancers movements, sounds, and other uncertain data for the sake of variety and diversity.
(A special set was built for the works visual components, which were ゙lmed in hi-vision in order to visualize the dancers subtle movements and gravity on the floor.)
Systems and software used for the development/production: openFrameworks, Processing, MAX/MSP.
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skinslides refer to Shozenji Temple as a model.
Shozenji Temple: Opened by Funei Gottan in 1286 in Kyoto. The temple is famous for its Zen gardens, which are Japanese rock gardens (karesansui) created by Enshu Kobori (1579-1647), and Chitenjo (bloody ceiling).
Karesansui: Karesansui is usually created by white sand and white stones, but this garden has evergreen azaleas in the white sand. The garden design uses 7:5:3 ratios, particularly with the plants. Watching carefully how the plants grow and keeping them in the 7:5:3 ratio gently guides them, protecting the groups of plants. Cutting the branches and keeping the groups in order allows them to grow.
The skinslides program follows this particular ratio like the garden, slowly changing its form.
Chitenjo: In 1600, war raged across Japan and Mototada Torii and his garrison died defending Fushimi Castle, most of them suicidally attacking the enemy. After almost all of his men died fighting, Torii committed suicide with the remaining men rather than be captured alive. The blood of the faces, legs and hands of Torii and his men stained the wooden floor and would not wash off. After Torii’s defeat, the wooden floor was dismantled for use in other buildings as was typical then. Over 20 years later, the boards were used in Shodenji temple’s ceiling to commemorate the dead.
The shadow of the dead on the floor goes beyond documenting history, creating a different level. Putting the floor where the ceiling is means that observers have to look up at the ceiling in order to watch, changing gravity and causing a unique feeling from looking up.
skinslides are inspired by this flipped space of the Chitenjo.
– Francis Bacon: skinslides represent theater expression through movie skills while still remaining as artwork. Francis Bacon (1909-1992), who greatly influenced contemporary art after World War II, is famous for his expression of human fear: fear of violence, fear of loss, and fear of being human. His paintings are primarily formed by three frame sets, and we can analyze those three by constructions, forms, and shapes, or force, rhythm, and time.
In skinslides, we have three screens with intervals of 0.9 m of space between them, helping the audience to imagine the performance in the blank space. This practice came from Bacon’s painting where he expanded space through using space and emphasized the shapes of motion. In addition, the wall painted orange around the skinslides pays homage to Bacon.
The dancer’s right arm is equipped with an accelerometer, allowing for the performance of nine different sampling sound sources through the X, Y, and Z axes. The dancer, observed by a camera installed on the ceiling, improvises the dance movements by watching the operator’s ribbon movements displayed on a monitor placed in front of the stage. To announce the time limit of the performance, a hamburger is cooked in a microwave on the stage. It’s cooked for about 15 minutes until it burns, symbolically expressing the overheating of the dancer’s body.