Prior to filming, I had planned for 3 camera viewpoints. The first camera was a fixed camera on a tripod intended to capture my incremental movements across the timeline. The second camera was the follow camera which captured closeup shots and tracked with my movements. The third camera was a GoPro shot strapped to my chest, which allowed for a continuous shot of me walking across the bridge and capturing the performer’s viewpoint of the score before dancing the score.
The choreography was not pre-planned, because dancing the data in situ and in the moment was a critical element to sense making within the paradigm of somatic and embodiment processes that activate the perceptual-sensory systems mediated by body-mind-environment interactions. I also wanted to encounter and respond to the data on the bridge as an acknowledgement of the everyday spatial-corporeal experience that people have in the built environment. Filming the performance of the entire score took about 4 hours.
