Dance for Camera

Inspired by the astonishing and unprecedented speed and scale of uptakes of the camera, this study seeks to unravel the behavioral aspects surrounding young people’s adoption and consumption of the device. Because the camera is associated with specific social practices characteristic of a specific ‘way of life’ of a distinct set of people, it is considered here as a ‘cultural commodity’ significant of the society of present times. In light of this, the present study addresses the reasons for adoption from both functional and symbolic perspectives. Comparison with traditional cameras and other referent technologies has shown that, while the present day digital camera is seen as a superior substitute for traditional cameras due to the unique experience that it provides, it is less so in terms of the substitution potentials of the device in relation to more established forms of personal technologies, such as the computer and smartphones. This study is a small contribution to the understanding of human adoption and consumption behavior of new technologies and the wider cultural and social aspects surrounding the camera as a personal communication device.

It is understood that Videodance arises from this dialogue, as well as from works articulated from the Visual Arts, that in my opinion have influenced the origin and development of these productions. It is not the theme in this text to deal with the "origin of Videodance", therefore, in the following I will present some reflections about this practice, from this idea of non-place (object in transit), and trying to establish the relevant relationships that allow an open definition of the concept. Painting, in a moment, leaves the frame to occupy a place outside of it, either towards an everyday object and space (installation), to gesture and body (Action and performance art), and to the street (Urban intervention), translating the sense of the permanence of the painting, towards the ephemeral, the transitory.