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[Commlist] CFP - Dancing (with technology) issue of Intermediality / Intermédialités
Thu Apr 17 15:16:20 GMT 2025
Call for Papers / Appel à publications for a special issue of
Intermediality / Intermédialités
"Dancing (with technology) / Danser (avec la technologie)"
Guest Editors: Hilary Bergen (The New School) and Philippe Bédard
(Independent Scholar)
Deadline for abstracts: June 7, 2025
Publication Fall 2026
View the full call here >>
http://intermedialites.com/en/call-for-papers-no-48-dancing-with-technology-danser-avec-la-technologie/
<http://intermedialites.com/en/call-for-papers-no-48-dancing-with-technology-danser-avec-la-technologie/>
Aussi disponible en français >>
http://intermedialites.com/appel-a-contributions-no-48-danser-avec-la-technologie-dancing-with-technology/
<http://intermedialites.com/appel-a-contributions-no-48-danser-avec-la-technologie-dancing-with-technology/>
Isadora Duncan⎯fin de siècle pioneer of modern dance⎯believed that only
the movement of the “naked” (unshod, unmediated) human body could be
considered natural and therefore hold value. Duncan was fixated on
stripping dance to its core instrument⎯the singular human form (Daly
1994). But dance has never been just about the body. On the contrary:
dance is an assemblage. It gathers together technique, ceremony,
choreography, habitus (Bourdieu 1990), and various media—lighting,
costuming, music—all of which combine with bodies to produce
performative effects. Furthermore, filmmakers, scientists, and animators
have historically used dance to test and experiment with new media,
including moving images, electric stage light, and animation techniques
such as rotoscoping (Haslem 2019; Pierson 2020; Schonig 2021). This
history frames dance as a networked, relational practice which extends
the notion of “body” beyond the human as a discrete entity.
There is an ongoing relationship between dance and the development of
today’s emerging digital technologies, such as virtual reality (VR),
motion capture, and artificial intelligence (AI) (Birringer 2008; Berman
& James 2015; Li 2021). Furthermore, dance is often instrumentalized for
the purposes of advancing research in the fields of health and video
games (Miller 2017), as well as in the military context (Yamamoto &
Altun 2021) and in robotics (Skybetter 2024). Because dance is not just
instrumental but also relational, responsive, and curious, the dancing
body can serve as a valuable interface for exploring both the limits of
new technologies and the effects of those technologies on the human
experience.
It becomes clear that dance and technology are not oppositional
terms. If “technology” represents a set of means (tools, methods,
procedures) by which information is gained, then dance itself is a kind
of technology insofar as it is a finely crafted skill that can be used
to gather knowledge about the boundaries of the human body in its
various mediated forms and the experience of more-than-human relation.
This issue of Intermediality aims to theorize dance (as genre, practice,
and idea) from within historical and contemporary entanglements of
bodies, media, affects, and values. We are seeking contributions from
scholars, choreographers, technicians, and dancers in either essay
format or a more creative form, with a focus on projects that involve
dance and today’s new and emergent media, such as virtual or augmented
reality (VR/AR), robotics, motion capture technology (mocap), AI
applications, and other animative and choreographic interfaces. We
especially welcome submissions that engage with disability, critical
race, and gender studies, and research-creation approaches. Scholars
wishing to focus on earlier historical examples of the intersection of
dancing and technology are also encouraged to apply.
Some guiding questions for contributors might include:
- Where does the organic human body exist (or persevere) in dance,
especially in relation to “bodies” such as robots, avatars, digital
renderings, and filmic or animated traces?
- What is the emotional and philosophical experience of dancing
with technology?
- How do new capacities for virtuosity—now enhanced by digital
technologies—impact both the possibilities of dance creation and the
audience’s experience of watching dance?
- How do histories of surveillance and biometric governance come
to bear on, produce, or inform dancing bodies and choreographic
practices today?
- How does the rise of AI under advanced capitalism inform dance
as a practice, institution, and cultural exchange? Conversely, can dance
actively challenge the profit and productivity-based ideologies
associated with AI?
- How might collaborations between dancers, choreographers, and
new media practitioners open up new channels for relationality,
imaginative futures, and an expanded notion of what a dancing body is?
Proposals (350–400 words) in English or French should include an
abstract, a preliminary bibliography (five books or articles), and a
brief biographical note (academic program, fields of interest, 5–10
lines). Proposals will be evaluated based on the originality of the
approach and thematic relevance. They should be sent to the guest
editors ((hilary.bergen /at/ gmail.com) <mailto:(hilary.bergen /at/ gmail.com)> and
(bedphil /at/ gmail.com) <mailto:(bedphil /at/ gmail.com)>) by June 7, 2025.
Completed articles will be due December 1, 2025, and should not exceed
6,000 words (40,000 characters, including spaces). Illustrations (audio,
visual, still, or animated) are welcome; authors are responsible for
securing publication rights. There are no Article Processing Charges for
this journal. Authors should follow the submission guidelines available
at: http://intermedialites.com/en/guidelines-and-documents/
<http://intermedialites.com/en/guidelines-and-documents/>
Intermediality/Intermédialités is a biannual journal that publishes
original articles English and French evaluated through a blind peer
review process. For more information, please consult the journal issues
available through the online portal Érudit:
https://www.erudit.org/en/journals/im/
<https://www.erudit.org/en/journals/im/>
Bibliography
Bédard, Philippe, “Virtuality+: The Physical Body in Virtual Reality and
the Path Toward Augmented Virtuality,”Aisthesis. Pratiche, linguaggi e
saperi dell’estetico, vol. 16, no. 1, 2023, p. 61–72.
Bergen, Hilary, “Animating the Kinetic Trace: Kate Bush, Hatsune Miku,
and Posthuman Dance,” PUBLIC 60, 2020, p. 188–207.
Berman, Alexander & Valencia James. “Kinetic Imaginations: Exploring the
Possibilities of Combining AI and Dance,” IJCAI, 2015.
Birringer, Johannes, Performance, Technology & Science, New York, PAJ
Publications, 2008.
Boffone, Trevor, Renegades: Digital Dance Cultures from Dubsmash to
TikTok, New York, Oxford University Press, 2021.
Bourdieu, Pierre, In Other Words: Essays Towards a Reflexive Sociology,
Cambridge, Polity Press, 1990.
Bradley, Rizvana, “Black Cinematic Gesture and the Aesthetics of
Contagion,” TDR: The Drama Review, vol. 62, no. 1, Spring 2018, p. 14–30.
Daly, Ann. “Isadora Duncan and the Distinction of Dance,” American
Studies, vol. 35, no. 1, Spring 1994, p. 5–23.
DeFrantz, Thomas & Philipa Rothfield (eds.), Choreography and
Corporeality: Relay in Motion, Basingstoke: Palgrave MacMillan, 2016.
Dronier, Charlotte & Philippe Bédard, “Faire corps avec la caméra :
Expérimentations esthétiques et phénoménologie alternative du mouvement
chorégraphique,” in Richard Bégin, Thomas Carrier-Lafleur & Gilles
Mouëllic (eds.), Un cinéma en mouvement: Portabilité des appareils et
formes filmiques, Montréal, Presses de l’Université de Montréal, 2022,
p. 159–182.
Haslem, Wendy, From Melies to New Media: Spectral Projections, Intellect
Books Ltd, 2019.
Kozel, Susan, Closer: Performance, Technologies, Phenomenology,
Leonardo, 2008.
Lehman, Boris, “Filmer la danse,” Nouvelles de danse, no. 26, Winter 1996.
Li, Xiaocheng, “The art of dance from the perspective of artificial
intelligence,” Journal of Physics: Conference Series, vol. 1852, no. 4,
2021.
McCarren, Felicia, Dancing Machines, Stanford University Press, 2003.
Miller, Kiri, Playable Bodies: Dance Games and Intimate Media, Oxford
University Press, 2017.
Pierson, Ryan, Figure and Force in Animation Aesthetics, Oxford
University Press, 2020.
Portanova, Stamatia, Moving Without a Body: Digital Philosophy and
Choreographic Thoughts, Cambridge, MIT Press, 2013.
Rajko, Jessica, “Techno-Liberalism’s Body: Dance(r) Labour in Computing
Research and Race as Always Already Additive,” BCS Learning and
Development Ltd, Proceedings of Politics of the Machines—Rogue Research,
2021, p. 23–31.
Schonig, Jordan, The Shape of Motion: Cinema and the Aesthetics of
Movement, Oxford University Press, 2021.
Skybetter, Sydney, “Clock, Fall: Choreorobotics and Near Futures of
Choreographic Practice,” Keynote talk, Harvard University, April 18,
2024, https://www.skybetter.org/clockfall
<https://www.skybetter.org/clockfall>
Thain, Alanna, “In the Blink of an Eye: Norman McLaren Between Dance and
Animation,” in Douglas Rosenberg (ed.), The Oxford Handbook of
Screendance Studies, New York, Oxford University Press, 2016.
Walon, Sophie, “Ciné-danse : Histoire et singularités esthétiques d’un
genre hybride,” PhD dissertation, Université de recherche Paris Sciences
et Lettres, 2016.
Yamamoto, Gonca Telli & Deniz Altun, “Virtual Reality (VR) Training in
the Future of Military Training,” 6th Istanbul Security Conference,
November 5–6, 2020.
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