Stuart, R. (May, 2004b) 'Compositional Techniques for Live Dance in 'Moving' Digital Scenography: presence, sensation and the time-image' submitted for MA (Collaborative Arts), University College Chichester, UK.
Now, the structure of a 'dance' piece need not be one primarily of fluid transition with occasional dramatic scene change, but can become one with many discontinuous transitions, both within scenes and between scenes. The imagery we are creating now, is not based on an assemblage of elements working in any one moment in time and unfolding gracefully through time as one evolving image. Rather our imagery relies on an assemblage of elements with a complex temporal structure in their relationships. The modes of the relationships can blend into other modes or interrupt each other, or overlay each other, just as in cinema. The viewer senses the movement in the image through their body, particularly identifying their perspective with the virtual camera's perspective (controlled by the Vc path). The Vc path represents the notional physical path of the viewer i.e. their choreography.