The exhibition was held in the basement of ‘Out of the Brew’ a cafe near Goldsmiths. This was as a clean white space, almost square with a brick pillar in the centre and a desk to the right side of the door. When curating the space I knew I needed room around the computer for people to move. However, it also had to work alongside the needs of the other art works. In the end it was on the left hand side with plenty of space.
I set up the software on a Dell computer from our Goldsmiths lab. This simple black computer, I felt, gave fewer connotations than using a laptop or Mac pc. The square screen was divided into three sections. The top half was used by the main window of the software and the two bottom corners showed the websites and to the right it’s source code. As you change the website the source code would automatically update with the dance notation.
For display the computer I used a metal frame. This frame allowed for the computer and the screen to be separated and for the screen to be at the right level for use. The wire leading to the power was hidden by white tape, however the wires connecting the computers and the screen were left hanging behind, making sure the ascetic was not too rigid. The frame also provided just that, a frame. As this piece is not an artwork in and of itself, it is a piece of software. This frame allowed it to become more of an installation.
Wireless headphones were left on the side of the frame. These were playing the audio score used to create the set piece of choreography (all the security software’s information pages from the Cryptobar installation). Although I sadly could not create an instant playback of the audio within the software itself, I still wanted to show the possibility. Having the headphones would also mean one person maybe using them, while one another can be using the software. The audio was played wirelessly through Bluetooth.
The dancers were to perform at the far side of the gallery. To make sure that this would be enough space I took some dancers down to practice. There was Jest enough space, however the ceilings were very low so when they lifted their arms their hands touch the ceiling. Nonetheless, this wasn’t a real issue, as I had choreographed with this space in mind, I made sure there were no jumps or lifts.
Once the other artworks were installed, I wanted to test the headphones, the music and the space; I decided to have a go myself. These are just some experiments with moving in the space, improvising with the audio score and directly interacting with the Cryptobar.
In the exhibition guid:
Eleanor Chownsmith, 'If the Internet Could Dance', 2017, interactive performance With thanks to software developer Jakub Drga.
This software transforms websites into sites of movement creation, rather than a site of sitting still. The work challenges us to rethink our everyday interactions with technology as full of creative potential. There is no right or wrong way to interpret the dance score. So, have a dance!
Dancers: Charlotte Jane Ackary-Hawthorn, Alisa Blakeney, Louise Cartwright, My Johansson, Ella Frampton, Amy Erica Moshman.