Interfaces between Physical and Virtual Bodies in Merce Cunningham’s BIPED
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The paper explored philosophical and aesthetic implications of a virtual body in the context of a live dance performance Merce Cunningham’s BIPED(1999), based on social and cultural discourses on a virtual body as well as theories of two philosophers Maurice Merleau-Ponty and Gilles Deleuze. As a result, it argued that in the performance, the digital and human performers coexist as independent multiplicities of a dancing subject, being allied to each other without a sense of hierarchy. The juxtaposition of two types of dancers as well as the oscillations of embodied movements between the virtual and physical realm allow audiences to locate on the threshold of the physical and the virtual.
Abstract
The paper explored philosophical and aesthetic implications of a virtual body in the context of a live dance performance Merce Cunningham’s BIPED(1999), based on social and cultural discourses on a virtual body as well as theories of two philosophers Maurice Merleau-Ponty and Gilles Deleuze. As a result, it argued that in the performance, the digital and human performers coexist as independent multiplicities of a dancing subject, being allied to each other without a sense of hierarchy. The juxtaposition of two types of dancers as well as the oscillations of embodied movements between the virtual and physical realm allow audiences to locate on the threshold of the physical and the virtual.
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