Advertisement

Digital Echoes pp 283-299 | Cite as

Artworks-Spawning-Artworks: Trans-Disciplinary Approaches to Artistic Spin-Offs and Evolution in the Dance and Digital Context

  • Jordan Beth Vincent
  • Caitlin Vincent
  • Kim Vincs
  • Scott deLahunta
  • John McCormick
Chapter

Abstract

A ‘spin-off’ in the context of publishing and broadcast media is well understood, as is the acknowledgement that each generation of artwork can inspire, generate, or ‘spawn’ the next. Embedded in the discussion about ‘artwork-spawning-artwork’ is a concern that any new creation might be a lesser dilution of its parent artwork. However, the process of ‘spawning,’ when it involves digital outcomes, can potentially extend the lifecycles of embodied artforms and allow for widespread dispersion and accessibility of an artwork in its new iteration. This paper explores artistic ‘spawns’ in terms of artistic evolution, lineage, and lifespan. As understandings of dance expand to incorporate new technologies, cross-discipline collaborations invite new interpretations of what constitutes a primary source within a networked, creative, and embodied environment.

Notes

Acknowledgments

Thanks to Steph Hutchison, Peter Divers, Richard Burt, Deanne Czarnecki, Jordan Kaye, Thomas Ingram, Kieren Wallace, Deakin Motion.Lab, and Motion Bank.

References

  1. Banks, David. 2011. On Performative Internet Memes: Planking, Owling & Stocking. Cyborgology, 21 September. http://thesocietypages.org/cyborgology/2011/09/21/on-performative-internet-memes-planking-owling-stocking/.
  2. Barrett, Estelle. 2004. What Does It Meme? The Exegesis as Valorisation and Validation of Creative Arts Research. TEXT: 3. School of Arts, Griffith University, 4 April. http://www.textjournal.com.au/speciss/issue3/barrett.htm.
  3. Dawkins, Richard. 1976. The Selfish Gene. Oxford: Oxford University Press.Google Scholar
  4. deLahunta, Scott. 2003. Open Source Choreography? In Code: The Language of Our Time, ed. Katalog zur Ars Electronica, 304–310. Ostfildern-Ruit: Hatje Cantz.Google Scholar
  5. deLahunta, Scott, and Célestine Hennermann. 2013. Motion Bank: Starting Points and Aspirations. Frankfurt, DE: Motion Bank/The Forsythe Company.Google Scholar
  6. Dunning, Jennifer. 2002. Martha Graham Wins Rights to the Dances. New York Times, 24 August.Google Scholar
  7. Gardner, Sally. 2014. What Is a Transmitter? Choreographic Practices 5 (2): 229–240.CrossRefGoogle Scholar
  8. Groves, Rebecca, Norah Zuniga Shaw, and Scott deLahunta. 2007. Talking About Scores: William Forsythe’s Vision for a New Form of ‘Dance Literature’. In Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance, ed. Sabine Gehm, Pirkko Husemann, and Katharine von Wilcke. Bielefeld/Piscataway, NJ: Transcript/Distributed in North America by Transaction Publishers, c2007.Google Scholar
  9. Harss, Marina. 2015. What Is the Future for Modern-Dance Companies? The New Yorker, 14 February. http://www.newyorker.com/culture/cultural-comment/future-modern-dance-companies-paul-taylor.
  10. Hay, Deborah. 2010. No Time to Fly (Solo Dance Score). http://x.motionbank.org/nttf_score/nttf_score.pdf.
  11. Hossny, M., S. Nahavandi, M. Fielding, D. Creighton, J. McCormick, K. Vincs, J.B. Vincent, and S. Hutchison. 2015. Haptically-Enabled Dance Visualisation Framework for Deafblind-Folded Audience and Artists. IEEE International Conference on Systems, Man, and Cybernetics, Hong Kong, 9–12 October.Google Scholar
  12. Hutchison, Steph, John McCormick, and Kim Vincs. 2015. META: Notes from a Dancer from Inside a Duet with an AI Agent. International Symposium of Electronic Art, ISEA 2015, Vancouver, Canada.Google Scholar
  13. Lepecki, Andre. 2010. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal 42 (2): 28–48.CrossRefGoogle Scholar
  14. McCormick, John, Kim Vincs, Saeid Nahavandi, Douglas Creighton, and Steph Hutchison. 2014. Teaching a Digital Performing Agent: Artificial Neural Network and Hidden Markov Model for Recognising and Performing Dance Movement. Proceedings of the 2014 International Workshop on Movement and Computing, Paris, France.Google Scholar
  15. McKinley, James C., Jr. 2011. Beyoncé Accused of Plagiarism Over Video. New York Times, 10 October. http://artsbeat.blogs.nytimes.com/2011/10/10/beyonce-accused-of-plagiarism-over-video/?_r=0.
  16. Pearson, Roberta, and Máire Messenger Davies. 2014. Star Trek and American Television. Berkeley: University of California Press.Google Scholar
  17. Rainer, Yvonne. 2009. Trio A: Genealogy, Documentation, Notation. Dance Research Journal 41 (2): 12–18.CrossRefGoogle Scholar
  18. Ritter, Madeline, and Rupert Vogel. 2012. The Value of Dance: Notes on Copyright. Trans. C. Langer. In Zeitschrift der Deutschen Vereinigung für gewerblichen Rechtsschutz und Urheberrecht, 14 December. https://tanzfonds.de/en/magazin/the-value-of-dance-notes-on-copyright/.
  19. Seibert, Brian. 2015. From a Fount of Grief, Endless Innovation. New York Times, 23 January. http://www.nytimes.com/2015/01/25/arts/dance/martha-graham-dance-tackles-new-versions-of-lamentation.html.
  20. Sutton, Benjamin. 2015. When Arty Music Videos Rip Off Artists. Hyperallergic, 19 February. http://hyperallergic.com/184095/when-arty-music-videos-rip-off-artists/.
  21. The Balanchine Foundation. 2002. The George Balanchine Trust. Accessed 24 February 2015. http://balanchine.org/balanchine/02/gbftrust.html.
  22. Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.CrossRefGoogle Scholar
  23. Vincs, K., J. McCormick, R. Vincs, D. Skovli, S. Taylor, K. Wallace, B. Lin, and P. Divers. 2014. The Crack Up (Live Performance). Melbourne, VIC.Google Scholar
  24. What Is the Streisand Effect? The Economist, 15 April. Accessed 10 December 2015. http://www.economist.com/blogs/economist-explains/2013/04/economist-explains-what-streisand-effect.

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Jordan Beth Vincent
    • 1
  • Caitlin Vincent
    • 1
  • Kim Vincs
    • 2
  • Scott deLahunta
    • 3
  • John McCormick
    • 2
  1. 1.Deakin Motion.LabDeakin UniversityBurwoodAustralia
  2. 2.Swinburne University of TechnologyMelbourneAustralia
  3. 3.Coventry UniversityCoventryUK

Personalised recommendations