Splitting centre : directing attention in trans-media dance performance Vincent, J., Vincs, K. and McCormick, J. 2015, Splitting centre : directing attention in trans-media dance performance, in ISEA 2015 : Proceedings of the 21st International Symposium on Electronic Art, [The Conference], [Vancouver, B.C.], pp. 1-1. Title Splitting centre : directing attention in trans-media dance performance Author(s) Vincent, J. orcid.org/0000-0001-9032-433X Vincs, K. McCormick, J. orcid.org/0000-0002-5347-0378 Conference name International Symposium on Electronic Art (21st : 2015 : Vancouver, British Columbia) Conference location Vancouver, British Columbia Conference dates 14-18 Apr. 2015 Title of proceedings ISEA 2015 : Proceedings of the 21st International Symposium on Electronic Art Publication date 2015 Start page 1 End page 1 Total pages 1 Publisher [The Conference] Place of publication [Vancouver, B.C.] Keyword(s) dance trans-media performance digital and virtual environments mobile devices interactive apps tweet seats Summary In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms. ISBN 9781910172001 Language eng Field of Research 199999 Studies in Creative Arts and Writing not elsewhere classified Socio Economic Objective 970119 Expanding Knowledge through Studies of the Creative Arts and Writing HERDC Research category E1 Full written paper - refereed ERA Research output type E Conference publication Copyright notice ©2015, The Conference Persistent URL http://hdl.handle.net/10536/DRO/DU:30082679 Document type: Conference Paper Collection: School of Communication and Creative Arts Related Links Link Description   Unless expressly stated otherwise, the copyright for items in DRO is owned by the author, with all rights reserved. Versions Version Filter Type Fri, 08 Apr 2016, 16:02:00 EST Sat, 09 Apr 2016, 05:02:09 EST Fri, 27 May 2016, 06:08:18 EST Fri, 10 Jun 2016, 09:22:28 EST Filtered Full Citation counts:   Cited 0 times in TR Web of Science Cited 0 times in Scopus Search Google Scholar Access Statistics: 193 Abstract Views  -  Detailed Statistics Created: Fri, 08 Apr 2016, 16:02:00 EST

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