The basic premise for this project is the consideration of perspectives of dimension.

We exist in three dimensions of space and when seeing a live body perform in front of us, we see a three-dimensional subject/object in three dimensions. When looking at a film, however, we see a two-dimensional object in three dimensions, and yet within those two dimensions is the containment of a three-dimensional subject/object.

In 3D animation, there is yet another layer in that the 3D animation is a representation in two dimensions of that which can exist only in two dimensions. Even as we can see the representation of three dimensions, our vision is limited to seeing one plane of information at a time.

How does this inform how we consider viewing three-dimensional subjects/objects, such as a live body? Do we still see only one plane at a time? What can we learn from the translations of visual stimuli that culminate in the perception of three or two dimensions?

modeling: s. burns / lighting: e. palmer

We think that examining these questions through lighting is particularly appropriate because, as we have been practicing all quarter, light sculpts our perception of an object’s shape, size, color, depth relationship, among other things.

Furthermore, the lighting of objects in space immediately draws attention to the depth of that space that the lighting may or may not illuminate, and thus to the perception of depth and dimensions.

We will be considering these questions within an abstract representation of “Day of the Dead” ceremonies commonly practiced in Latin and Central America, a choice which was inspired by the below haiku, particularly the words “visit the graves” and “cool off”:

We have the opportunity within this to draw attention to the notion of perspective by using more overt illustrations of individuals having different experiences. For example, we might introduce individual stories of experiences with death (and love?).

We will also assign audience seats to our spectators (by name or “visitor” if an unexpected guest), and include live performers who regularly change their relationship to the spectators by moving throughout the audience/performance space.

The performance will be a short cycle of events that take place in the two moods of evening and afternoon sunshine. The audience will enter when this cycle is already in progress. We have yet to decide whether or not to give the audience a cue to leave after seeing a full cycle before it restarts, though there most likely will be a short pause built in to the cycle that joins the “end” and “beginning.”

The roll of our performers* is to embody the tension between the living and the dead, between you seeing one thing and another person seeing another.

Their activities will include setting out and removing or moving the audience place markers, laying out flowers and/or candles, running throughout the audience, speaking the haiku (and possibly additional text), putting on one of the hanging dresses, among other things.

*Blake Beckham and Michael Estanich, OSU Department of Dance

modeling & lighting: s. burns

video still: e. palmer

Our projections will include video footage of candles (close ups)and 3D animations of dresses and objects (remembrance artifacts), as well as 2D images of more of the same.

The environment for the animations may take on the look of moonlit space, evocative of a place of remembering and forgetting.

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