Gretchen Schiller: Kinaesthetic Traces Across Material Forms: Stretching the Screen's Stage

Trajets (2000) is an installation inspired by dance and visual choreography. Twelve motorised screens move slowly in response to the paths taken by the visitors through the space. Video imagery projected onto the screens is of moving bodies and kinaesthetic patterns. The installation is a kinetic, enveloping, responsive environment.
In the ground of trajets we can find two different research on kinetic movement: the first one is Fullers body screenography that uses body as a moving screen to create fantasy(here body itself disappears) and the second one is Mareys movement mapping that investigate body movements to figure out kinetic methode of our body. Through these artistic and scientific scope of movement perception and transformation is the screen stage stretching.

Trajets reduces the gap between action and representation. The screen is not only a projection surface, but also a dynamic participant in the screenography, with video and force-based reactions that move in relationship to the visitor in real-time. The screens in trajets do not separate the subject of the visitor's movement experience from its representation, but instead seek to develop a participatory dynamic which continuously maps and renders present movement perception between the participant and the given feedback experience. The visitor's body in trajets has the opportunity to experience its own inner-felt movements' kinaesthesia, a sense of empathy for other participant's movements and/or physical connection to the images. This physical internal reception of the public is described by visual and cultural critic Marks as haptic cinema a sort of visceral chiasmus of perception and moving images.

“haptic visuality” is a visuality that functions like the sense of touch by triggering physical memories of smell, touch, and taste—to explain the newfound ways in which intercultural cinema engages the viewer bodily to convey cultural experience and memory.

Mark Coniglio: Materials vs Content in Digitally Mediated Performance

Mark Coniglio, the author of this text, tries to divide digitally mediated performance in two according to their methodology of the presentation. The first one is ‘material driven’ like “Apparitions” and the second ‘content driven’ like ‘16 (R)evolution’. Of course there are different ways and purposes to use imaginary in the performance. In Apparitions, the visuals stay within a clearly defined realm throughout the course of the piece, and these visuals are visible throughout almost the entire work and the materiality, the exhaustively explore the attributes of all materials, is the subject of the peace. But the 16 Revolutions, on the other hand, presents a far more varied palette of visual imagery that is present in several sections, but is, significantly, absent in others. In the 16 (R)evolution, the visual imagery itself is not the subject but a method to emphasis the narrative of the piece.

Some characteristics of the both side are listed bellow.

Material driven (Apparition)
Based on Reality
Traditional in art making, exhaustively explore the attributes of all materials
Abstraction
Dance (contemporary – without narrative & in abstract sense)
Exploring the materials is the subject of the work

Content driven (16 Revolutions)
Based on illusion
Narrative oriented
Theater (by more traditional literary interpretation)
Use materials to suggest or provide context
An idea implies narrative
Someone is telling a story