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- W2313304483 abstract "Hybridized artworks are becoming almost as trendy today as hybridized plant species in agriculture. In Canada we have seen works such as Gargoyles and Angels, which brought dance together with dramatic action and song.1 Lost in Desire featured dancers in combination with video and live percussion.2 In Sanctuary up to three distinct video projections of the dance on view, one of which was a live rendering of it, were projected on the wall in front of which the actual dance happened.3 Carbone-14's L'hiver as well as Pierre-Paul Savoie's P6les utilized holographic projections in their works; in Savoie's piece the technology integrated with the live dance to such a point that the projections of dancers had the pride of place in the event.4 What is notable in this trend toward multidisciplinary experimentation is the frequency with which simulacra (primarily video projections, and now also holographic projections) are made important partners of dance. Analysts of contemporary culture go so far as to argue that simulacra of dizzying variety are in a wholesale manner insinuating themselves into our lived experience. Given these conditions, I argue in the following that dance today, as art of body, constitutes an important form of resistance to the ever more pervasive diffusion of simulacra in contemporary industrialized societies. The corollary will be that, to the extent that we find the occupation of our lived experience by simulacra problematic, we have renewed cause to support dance art." @default.
- W2313304483 created "2016-06-24" @default.
- W2313304483 creator A5083936742 @default.
- W2313304483 date "2000-01-01" @default.
- W2313304483 modified "2023-10-06" @default.
- W2313304483 title "The Real and the Hyperreal: Dance and Simulacra" @default.
- W2313304483 cites W2008806181 @default.
- W2313304483 doi "https://doi.org/10.2307/3333573" @default.
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