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OCULUS PILE: Visibilizing a Kaleidoscopic of Pedestrian and Dance Activity


Welcoming the audience to Oculus Pile’s premiere performance (2015)

Oculus Pile link to the dance-film.

In Oculus Pile, I intend to interweave choreography and pedestrian data for the audience to observe. Imagination prompted the creation of this dance. I imagined invisible pedestrian paths creating “piles” in the areas where they overlap each other over the course of time. The circular edge of the dance space was delimited by the gaze of the overhead oculus projected upon Knowlton’s forecourt.

Landscape Choreography by Kimberly M. Wilczak

 Performances: Wednesday, April 8 @ 7:30pm AND Thursday, April 9, @ 12:45pm

Dancers: Tim Bendernagel, Heidi Murr, Mikaela Hayes, Savannah Weatherington, Julia Ayau, Robin Edigar-Seto, Shay Aleshire, Chanan Brown, and Sasha Wright


water circles groupshot2

The dancers during filming

Water Circles: inspired by Charity Water India

This dance-film began with talking with my friend Deepthi Kalyanam (an Indian woman living in Pennsylvania) about charity. After she shared Charity Water INDIA’s promotion with me (youtube.com/watch?v=6bH7SPNdSt4), we wondered how we could help beyond sending funds. We decided to use dance-film as a visual prayer-medium where every time this video is played energy is created supporting global teamwork.

Creation details:

For the chalk drawing portion of filming, the text-based soundtrack of the Charity Water Youtube campaign inspired the dancers’ movements. Those movements were expanded upon in Kaitlyn Sheffield’s solo dance. The film came together around a new soundtrack, The Piano Guys’ cover, “Without You.”

Dancers in the film represent the Departments of Dance and Landscape Architecture at The Ohio State University.

Ronald Altman – Dance Studies
Allegra Angelini – Visual Artist
Shelby Booth – Landscape Architecture
Anastasia Carrier – Landscape Architecture
Jessica Cavender – Dance Studies
Daniel Diller – Dance Studies
Joda Lee – Dance Studies
Lauren McCrystal – Landscape Architecture
Kaitlyn Sheffield – Dance Studies

And thank you to Candace Feck!


Using film software to add Escher-like affects







A Touch of Mirth 

“A Touch of Mirth” casts newly renovated Sullivant Hall as the partner to Joyce Morgenroth in a pas de deux rising from the ground floor to the soaring rotunda’s 3rd story oculus.

Thank you to Professor Morgenroth for her time and energy, and to my colleagues Sasha Wright and Daniel Diller for your critiques.

Ron Altman in 22 Shots

Ron during filming

22 Shots.  My first dance-film attempt. The criteria: Make up two simple movements—movements that have different dynamics. Find a performer and shoot those two movements from nine camera angles… • a profile • a diagonal • a frontal from each of three heights… • low angle (angled up on the subject) • flat (eye height) • high angle (not TOO high, looking down on the subject–you’ll need to find some stairs or a use ladder or something) (The shots at a certain height don’t have to be on the same side — you can go low profile from the left and low diagonal from the right.) = 18 shots (3 angles X 3 heights X 2 movements) Also shoot 4 close-ups — 2 for each movement. Voila — 22 shots


Karen Eliot

Karen during filming



Iteration 1_on the way to the final (Youtube link)

In ‘Body Space Architecture,’ Piet Mondrian’s De Stijl compositions are sought out in the architecture of The Ohio State University. The choreography (danced by Professor Karen Eliot) moves through verticals and horizontals inserted into the visual landscape.

This is the second of three pieces created in Mitchell Rose’s Dance-Fim 1 class, Autumn 2013.



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