We seek to better understand the value of individual variance in unison-driven choreography—an aesthetic of mess—through close analysis and a comparison to computerized unison, in which the performance of a single dancer can be duplicated into an entire corps.
Their SloMoCo micro-residency is an initial exploration in using movement visualization technology to better understand the components and aesthetics of unison dance. Looking back on Berkeley's approach to dance making from a 21st century, post-modern perspective, they are asking: What is the value of (deliberate and unintentional) human error to artistic practices? How can the pursuit of Berkeley-esque unison give us insight into new choreographic and pedagogical methods? Given the machine-like precision of Berkeley's dances, could movement visualization technology be a useful present-day approach to this investigation?