Bichos (1960) proposed unstable structures that do not have an ideal shape, front, or back. The creations are fully manipulable, and the spectators can manipulate the artwork; however, they want.
In the mid-1960s, Lygia Clark, a Brazilian artist, revolutionised the art world using her unique approach. Unlike traditional art, her creations demanded active participation from the audience, which challenged the conventional role of viewers. Clark blurred the lines between artist and audience, inviting viewers to become integral to the artwork.
Her use of interactive art, notably seen in works like the Bichos (1960) sculptures and Sensorial Masks (Máscaras sensoriais, 1967), went against passive observation, encouraging active engagement. This shift from passive viewing to active participation marked Clark as a pioneer of participatory art. Her collective-involved pieces prompted audiences to not only physically interact but also question their roles as both artists and viewers.
Clark's impactful legacy extends beyond her innovative methods, inspiring countless artists to prioritise audience connection and reshape the art experience. She has left an indelible mark on the art world, forever changing how we perceive and engage in artistic expression.
Máscaras Sensoriais (1967) are fabric masks that modify sensory stimuli. These masks are intriguing objects that alter the way we hear, see, and smell. With the mask on, a person experiences a range of unique sensations that can make them feel connected to the world around them or isolated within themselves. For example, masks can change the way sound, color, and scent are perceived, evoking a variety of sensations.
My practice as research combines dance composition, real-time GPT chats, and audience participation. The inspiration for including audience participation in this project comes from participatory art, pioneered by Lygia Clark, while the performances of Troika Ranch influence the idea of using technology, which responds in real time to the movements of dancers. My study aimed to create a unique and interactive dance composition experience for both dancers and spectators by joining the principles of participatory art with real-time technology.
The principal inspiration for using real-time technology in dance performances came from Troika Ranch's 2006 performance, 16 [R]evolutions.
Dawn Stoppiello choreographed this work in collaboration with Mark Coniglio. This interactive performance explores the duality of human nature - our ability to think rationally as well as act on animalistic impulses. The production uses Coniglio's Isadora interactive technology, which captures dancers' movements with a camera and sends the data to the Isadora system. This system then programmes and manipulates the three-dimensional image of the dancer in real time.
Troika Ranch, led by choreographer Dawn Stoppiello and composer/media artist Mark Coniglio, made significant contributions to the intersection of dance and technology. Recognised as pioneers in their field, the Troika Ranch is known for creating performances that go beyond traditional boundaries. They specialise in interactive experiences where real-time systems respond to dancers' movements or input from spectators. This means that, during their shows, the dancers' actions or even the audience's reaction can influence what happens, creating exciting and immersive experiences. A perfect example of their famous work is the 16 [R]evolutions (2006), a performance that showcases their dedication to combining dance with technology to offer audiences a unique and dynamic experience. Through their innovative approach, Troika Ranch extends the possibilities of artistic expression in the digital age. Another example is Swarm (2013).
