Huginn C.
陳智彦

In the process of transformation, repositioning takes place, shaping the image through fluidity.

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"Resculpting" is a new media dance theater piece that explores the coexistence of dance and sound, challenging the dissonance between visual and auditory senses. It moves from disability to super-ability, combining dance, space, sound, and installations to create a new sensory experience.

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The English term "cyborg" is a combination of "cybernetic" and "organism," referring to the integration of mechanical devices into organic beings or the replacement of major human organs or body parts with mechanical devices. Current cyborg technology is still in its developmental stage, encompassing techniques such as artificial organs, cochlear implants, and artificial lenses. With the advancement of technologies such as big data, algorithms, biotechnology, and artificial intelligence, humanity has entered the post-human era of body modification, where the close integration of humans and technology extends human consciousness and develops supernatural human forms. The creator uses this concept as the basis and focuses on "technological rehabilitation" to reflect on how humans, aided by technology, shape the potential of the human body in the process of physical development.

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Through wearable sensing devices as extensions of the body's sensory functions, the devices receive electronic signals generated by the dancers' body movements and transform them into parameters of sound, emitting corresponding audio. In this transformation process, the sound is no longer prearranged standardized compositions but rather generated from the dancers' dynamics, allowing the audience to perceive the fluidity of sound. This challenges the traditional mode of observing dance performances solely through visual perception, enabling a sensory experience that incorporates auditory perception of dance.

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Within the process of digitization, the dancers' bodies establish a continuous transformational relationship with the devices and the sound. By utilizing new media as a medium and dance as a vehicle, the piece seeks to rediscover the human essence and redefine the relationship between humans and technology.

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The performance can be broadly divided into three stages:

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1. The dancers wear the devices, and through their bodily movements and interactions, they become instruments, engaging in semi-improvisational exploration of this characteristic.

2. The sound, as if possessing its own life, gradually integrates with the devices on the dancers' bodies, rhythmically and melodically, presenting an exploration of the symbiotic relationship between humans and machines.

3. The dancers remove the wearable devices, and a different-toned music fills the background, symbolizing that through their previous experiences, they have completed an evolution and no longer require these devices as assistance, having undergone an internalized transformation.