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.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
Making this connection between choreographic data and new digital forms is made explicit through the activity of the Choreographic Coding Labs, an outcome of the first phase of Motion Bank (2010–2013). See: http://choreographiccoding.org/.
- 2.
Amin Weber’s Digital Adaptation of Deborah Hay’s score No Time to Fly is available here: http://scores.motionbank.org/dh/#/set/digital-adaptation-of-no-time-to-fly.
- 3.
The commissioned work, Figure a Sea, premiered with twenty-one dancers in Stockholm on 24 September 2015.
References
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/.
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.
Dawkins, Richard. 1976. The Selfish Gene. Oxford: Oxford University Press.
deLahunta, Scott. 2003. Open Source Choreography? In Code: The Language of Our Time, ed. Katalog zur Ars Electronica, 304–310. Ostfildern-Ruit: Hatje Cantz.
deLahunta, Scott, and Célestine Hennermann. 2013. Motion Bank: Starting Points and Aspirations. Frankfurt, DE: Motion Bank/The Forsythe Company.
Dunning, Jennifer. 2002. Martha Graham Wins Rights to the Dances. New York Times, 24 August.
Gardner, Sally. 2014. What Is a Transmitter? Choreographic Practices 5 (2): 229–240.
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.
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.
Hay, Deborah. 2010. No Time to Fly (Solo Dance Score). http://x.motionbank.org/nttf_score/nttf_score.pdf.
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.
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.
Lepecki, Andre. 2010. The Body as Archive: Will to Re-Enact and the Afterlives of Dances. Dance Research Journal 42 (2): 28–48.
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.
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.
Pearson, Roberta, and Máire Messenger Davies. 2014. Star Trek and American Television. Berkeley: University of California Press.
Rainer, Yvonne. 2009. Trio A: Genealogy, Documentation, Notation. Dance Research Journal 41 (2): 12–18.
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/.
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.
Sutton, Benjamin. 2015. When Arty Music Videos Rip Off Artists. Hyperallergic, 19 February. http://hyperallergic.com/184095/when-arty-music-videos-rip-off-artists/.
The Balanchine Foundation. 2002. The George Balanchine Trust. Accessed 24 February 2015. http://balanchine.org/balanchine/02/gbftrust.html.
Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.
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.
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.
Acknowledgments
Thanks to Steph Hutchison, Peter Divers, Richard Burt, Deanne Czarnecki, Jordan Kaye, Thomas Ingram, Kieren Wallace, Deakin Motion.Lab, and Motion Bank.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Vincent, J.B., Vincent, C., Vincs, K., deLahunta, S., McCormick, J. (2018). Artworks-Spawning-Artworks: Trans-Disciplinary Approaches to Artistic Spin-Offs and Evolution in the Dance and Digital Context. In: Whatley, S., Cisneros, R., Sabiescu, A. (eds) Digital Echoes. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-73817-8_15
Download citation
DOI: https://doi.org/10.1007/978-3-319-73817-8_15
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-73816-1
Online ISBN: 978-3-319-73817-8
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)