- Is the role of the observer to strictly document a process without manifesting any (additional) presence and thus manipulating the space? In this case we can talk about a (fix frame) photo video and/or audio recording from far away, or from a hidden location, without prior notice to the dancers. What is the interest of the observer? 

 

If the intention of the observer is purely documentary, it implies a neutral, unemotional angle, a strictly technical and one-sided involvement into a process.

 

- Is the role of the observer to impose its presence on the process? If it is, what are the requirements to do so? The observer can enter the space or spacial setting with the recording device and approach the dancer, crossing individual perceptive barriers, in accordance or not with the subject of interest. Crossing any of such barriers results in a manipulation of the subject, thus becoming an object, and a lack of objectivity in the recording (selection of frame, composition, layers etc.). I assume a possible question is weather the observer needs to adjust his/her behavior to the given situation (in accordance with the situation) or not. Manipulation is established in any way and it can either go with or against the flow, irritate or stimulate the ongoing process. Being part of the process as an observer allows to respond to and not just perceive information. The device becomes an extended part of the body and illustrates the personal approach to the situation. Besides, the process of taking photos is determined by technical possibilities/limitations of the gear as well as the lighting situation. And: What is the required media outcome of the session - private, internal document, installation, press, archive?

 

Roland Barthes distinguishes four different angles. "In front of the lens I am at the same time: the one I think I am, the one I want others to think I am, the one the photographer thinks I am and the one he makes use of to exhibit his art. (Camera Lucida p. 13, 1981). Visual layers as well as layers of perception and intention emerge on the recording surface.

 

Finally, the consumer is in the position to analyse or not (question or not) the making of the product.

 

This writing reflects on a class situation of IDOCDE teachers during the Vienna session in August 2012. Discussing the role and effect of a recording device in an ongoing dance related process, we worked in three groups with three membera each. All member shifted roles and at least once danced or photographed. We used video and still photos at the occasion.

 

Inning and outing by Nici Rutrecht together with Defne Erdur and Kerstin Kussmaul

The space for the photo-session was chosen intuitivly - i was attached to the simplicity of narrow walls, color and door-frames as well as the fact that there was the toilet - one of the most public and private place at the same time. There was also a little male-female-sign quite up on the wall, so i gave the "players" the assignment to be in relation to that sign somehow and was curious what would happen with all those components, what relationships would happen.

The players were going for their story  while i as the photographer was part of it in a way that felt un-attached to the players and at the same time i felt as an equal part of what was happening. Beeing allowed to watch very closely to the intimacy that was happening, at the same time beeing intuitively creative, was a familiar but new feeling i want to explore more.

As the next step i wonder how it would be to constantly change the role of the photographer in the prozess of the story.

 

 

Maria Probst together with Georg Blaschke, Sabine Holzer

Maria Probst: Since the space at Arsenal (Impulstanz Vienna) was calling for attention I decided to actively compose the space adding to what was there already (green chairs). When starting the session I realized that I am busy enough captering the movement in an interesting moment and keeping track of the dancers in space. So I shifted focus and started using the objects as framing for the action of the dancers. The dancers should be one element together with non moving components.

Georg Blaschke: I was interested in capturing the dimensionality of a spatial setting in relation to a quite intimate task in a movement from the distance to the close with my camera. The task for the performers was to move within a restricted area and to stay in contact through a sliding touch with them and/or with surrounding surfaces. The more I moved closer the more I felt rather part of the physical process instead of framing or "composing" a picture like when I kept more distance.

 

Sylvia Scheidl together with Kristen Greco and Matthew Smith

Sylvia Scheidl: Being in the role of the photographer I was confronted with the task to capture the action of my two moving performers Kristen Greco and Matthew Smith in an extremely rich environment. We worked in a big studio that had a blue-green dance floor shining like the surface of a pool surrounded by many surreal elements of stage design. I asked Kristen and Matthew to stay in a rather limited area with a kind of small village store that not only had a big wooden table but some shelves with beer cans and two dusty umbrellas. 

Matthew and Kristen quickly established a game around some big nails on the table that drew my attention to their faces rather than to their whole bodies. I followed my first intuition testing different angles and getting pretty close with my little digital camera. Later on I chose a bigger distance to test the potential of a scene with two bodies in a setting offering strong narrative connotations.