DIGITAL INCARNATE ARCADE GALLERY, COLUMBIA COLLEGE
Is the disembodied body the future of dance? That question is at the heart of "Digital Incarnate: The Body, Identity, and Interactive Media," a gallery show about the intersection of digital media and dance, curated by Alycia Scott and Sara Slawnik.
Wii technology is only the tip of the iceberg—Digital Incarnate reveals a whole new fun-house world. Not every piece here is interactive, but they do all move one way or another. And they do something more significant, too. The work on view in Digital Incarnate shows that digitized art rooted in live dance and movement can have value independent of either of them—its own integrity as a form. Going further, electronic media can deepen and extend the live performance of dance, as Merce Cunningham proved more than a decade ago with Biped, or overwhelm it, as Cunningham disciple Koosil-ja proved last month with Blocks of Continuality/Body, Image, and Algorithm (part of the Science, Technology, and Dance series presented by the Dance Center of Columbia College in connection with this exhibit).
Four collectives produced the five pieces in Digital Incarnate, capitalizing on their members' expertise in computer science, drawing, sculpture, and film, as well as dance. All four manipulate and control the human form, generating sometimes Frankensteinian creations that, however abstracted or distorted, still reflect humanity.
In Troika Ranch's Liquid Mirror (2010) a camera records the viewer's moving image, runs it through the real-time Isadora program (created by Mark Coniglio), and plants it in warped form on a triptych of screens. The first time I saw the piece I walked right by, barely noticing its subtle sound and movement effects. Turns out you have to put in some effort (and look like an idiot, waving your arms, jumping up and down, rushing the screens) to get a satisfying response—mostly bubbles and whirlpools forming and dissolving on a viscous surface. You may think you're controlling the image, but it's also controlling you.
Indeed, the impulse to enter these digital looking glasses is so strong that it can produce the illusion of control or connection. Doppelganger—a 2006 collaboration between the Chicago-based Luftwerk and Hedwig Dances (remixed this year)—comprises white silhouetted figures projected on two gallery walls, performing actions as mundane as opening an umbrella or as evocative as pressing palms against some unseen barrier. Step in range of the ceiling sensor and the actions speed up and you hear murmuring voices and footsteps. That much is intended. But I also imagined that my motions were producing the actions, that the figures were moving with me.
Of course imagination is supposed to play a role in these pieces, and I'd say that the more the work invites emotional participation the better it is. One recurring theme, a corollary to that of control, is entrapment. Viewers' avatars seem caught just under the glutinous surface of Liquid Mirror, and the figures in Doppelganger appear to test the boundaries of their two-dimensional space.