Abstract
Perpetual Motion: Dance, Digital Cultures, and the Common takes the reader on a journey through a collection of digital dance works that cumulatively reveal a rich, and ongoing, interplay between dance and digital media. Available for purchase as a book and as an open-access download, Perpetual Motion details an historical evolution of dance's engagement within shared digital media experiences, focusing on the period from 1996 to 2016. As a reader, I quickly found within these pages a personal connectivity and, in these isolating times, a renewed membership into the global, online corporeal community. With myriad works (re)discovered in each chapter, Perpetual Motion shows us the global impact dance and digital media have had upon each other through shared social relationships and interactions, both on- and off-screen.
Highlights
Perpetual Motion: Dance, Digital Cultures, and the Common takes the reader on a journey through a collection of digital dance works that cumulatively reveal a rich, and ongoing, interplay between dance and digital media
First exploring CD-ROM examples of limited replay options, Bench later compares iPad apps and iterative screen dance works as more nuanced participatory artifacts in the 1990s Connecting these works with French philosopher, Jean-Luc Nancy’s definition of ‘unworking’ 2 artifacts, Bench argues that they planted the seeds of future digital-dance commonalities in trends of participation, with YouTube as a favored platform
Bench argues that digital platforms support the perpetual motion of shared movement information throughout globalized platforms as gifts of “shared gestures and choreographies ... [that] travel between the culture industry and fans.”
Summary
Perpetual Motion: Dance, Digital Cultures, and the Common takes the reader on a journey through a collection of digital dance works that cumulatively reveal a rich, and ongoing, interplay between dance and digital media. Using the term from theatre scholar Elizabeth Maddock Dillon, Bench constructs examples of these practices as “performative commons’’ 1 - where artists and viewers collaboratively co-exist in and co-produce shared movement artifacts, across digital media and across bodies.
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