AffeXity: Passages & Tunnels (2013)
Dance and Augmented Reality combine to make up the Augmented Choreography of AffeXity: Passages & Tunnels.
Part of the Re-New Digital Arts Festival 2013, Oct 29 -- Nov 3, 2013. Copenhagen Denmark
Collaborators: Jeannette Ginslov (video & concept), Susan Kozel (artistic direction & concept), Wubkje Kuindersma (dance), Camilla Ryd (special effects), Jacek Smolicki (sound), Daniel Spikol (technical production), Oliver Starpov (dance).
AffeXity: Passages & Tunnels is a project exploring affect in urban spaces. Dance improvisation and screen dance techniques for video capture and editing are the main artistic modalities. The element of AR (Augmented Reality) lets the choreographies be suspended as hidden layers of media living in physical space and on personal mobile phones. An extra dimension of archived material is added, letting AR be part time-machine part performance of memory. This artwork can be experienced individually, or as part of coordinated groups, or you could see the AR media combined with a live performance on 31 October-01 Nov 2013. The AR tags were placed all around the outside of the Nikolaj Kunsthal. You needed the AR app Aurasma running on iOS or Android smart mobile phones to access the media.
Location Nikolaj Kunsthal Nikolaj Plads 10, 1067 Copenhagen Denmark
Video content & documentary shot & edited by Jeannette Ginslov.
AffeXity would like to acknowledge support from the following organisations: Malmö University, Medea, Re-New Digital Arts Festival, Det Kongelige Teater, Svenska Filminstitutet, Vetenskapsrådet, and Nikolaj Konsthal.
Many thanks: Anton Van Niekerk/Hatfield Travel for sponsoring airfare for Jeannette Ginslov.
AffeXity is an ongoing project included in the the Living Archives research project.
Part of the Re-New Digital Arts Festival 2013, Oct 29 -- Nov 3, 2013. Copenhagen Denmark
Collaborators: Jeannette Ginslov (video & concept), Susan Kozel (artistic direction & concept), Wubkje Kuindersma (dance), Camilla Ryd (special effects), Jacek Smolicki (sound), Daniel Spikol (technical production), Oliver Starpov (dance).
AffeXity: Passages & Tunnels is a project exploring affect in urban spaces. Dance improvisation and screen dance techniques for video capture and editing are the main artistic modalities. The element of AR (Augmented Reality) lets the choreographies be suspended as hidden layers of media living in physical space and on personal mobile phones. An extra dimension of archived material is added, letting AR be part time-machine part performance of memory. This artwork can be experienced individually, or as part of coordinated groups, or you could see the AR media combined with a live performance on 31 October-01 Nov 2013. The AR tags were placed all around the outside of the Nikolaj Kunsthal. You needed the AR app Aurasma running on iOS or Android smart mobile phones to access the media.
Location Nikolaj Kunsthal Nikolaj Plads 10, 1067 Copenhagen Denmark
Video content & documentary shot & edited by Jeannette Ginslov.
AffeXity would like to acknowledge support from the following organisations: Malmö University, Medea, Re-New Digital Arts Festival, Det Kongelige Teater, Svenska Filminstitutet, Vetenskapsrådet, and Nikolaj Konsthal.
Many thanks: Anton Van Niekerk/Hatfield Travel for sponsoring airfare for Jeannette Ginslov.
AffeXity is an ongoing project included in the the Living Archives research project.
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AffeXity: Passages & Tunnels featured by Edward A Shanken Whitney Museum of American Art 12 February 2014
The Living Archives performance AffeXity: Passages & Tunnels (2013) was featured in a talk by Edward A. Shanken at the Whitney Museum of American Art, along with with other artworks using augmented reality and layering. Shanken’s talk was part of Shared Spaces, a symposium addressing the ways in which rapid, public sharing from within the museum transforms our attitudes toward works of art and the spaces that house them. In the talk, he highlights some of the ways art has been influenced by social media. When talking about AffeXity: Passages & Tunnels, Shanken says: "This is really a remarkable piece, in which the artists are trying to expose somatic and affective layers of urban spaces through dance improvisation and screendance. So you use a software programme which unlike Layar permits the viewing of video and sound. And in the premiere, the dancer you see appearing, in addition to the prerecorded dance of her moving in that physical space – so you have the layering of the virtu and the actual, the space, as well as the historic archival footage. Layering of histories, layers of spacing, layers of different imagery. And it became a very social environment where people were sharing their screens; we had to illuminate the tags, and the tags – as you see– they’re not QR tags, they are actual images so you get rid of the ugly QR aesthetic. I think that these sorts of works give us insight into possible futures that are unfolding." View video of this talk here on Vimeo. Fast forward to 9:06
The Living Archives performance AffeXity: Passages & Tunnels (2013) was featured in a talk by Edward A. Shanken at the Whitney Museum of American Art, along with with other artworks using augmented reality and layering. Shanken’s talk was part of Shared Spaces, a symposium addressing the ways in which rapid, public sharing from within the museum transforms our attitudes toward works of art and the spaces that house them. In the talk, he highlights some of the ways art has been influenced by social media. When talking about AffeXity: Passages & Tunnels, Shanken says: "This is really a remarkable piece, in which the artists are trying to expose somatic and affective layers of urban spaces through dance improvisation and screendance. So you use a software programme which unlike Layar permits the viewing of video and sound. And in the premiere, the dancer you see appearing, in addition to the prerecorded dance of her moving in that physical space – so you have the layering of the virtu and the actual, the space, as well as the historic archival footage. Layering of histories, layers of spacing, layers of different imagery. And it became a very social environment where people were sharing their screens; we had to illuminate the tags, and the tags – as you see– they’re not QR tags, they are actual images so you get rid of the ugly QR aesthetic. I think that these sorts of works give us insight into possible futures that are unfolding." View video of this talk here on Vimeo. Fast forward to 9:06