During COVID, a lot of what I experienced was lack of touch and connection to people. They received boxes in the mail with tactile objects.
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It was very task oriented: “I have to walk across there in a robotic way or in a very free and fluid way or by rolling.” It was all tied into movement in some way. They met different characters that represented different levels of connecting to the body. They had avatars they could move around, and they interacted with different characters in this world that was totally fantasy. It was an intentionally queer space, a space meant to uplift and support LGBTQIA people during the pandemic when a lot of people had to move back home, which might be an unsafe living environment. It wasn’t trying to tokenize people or make them be out. Everyone who was a performer in the Body Sleuth project was LGBTQIA Often used to encompass the following identities: lesbian, gay, bisexual, transgender, queer/questioning, intersex and asexual/agender., and the people who played could be LGBTQIA or allies. I was interested in creating an online community during the pandemic that brought people together, specifically by and for a queer community. Technology slowly starts to transform your body and how you’re experiencing yourself. It’s like, “Look at this augmented reality app on my phone” or “Look at this cool new interactive game.” And you realize your body has hunched over and you have no awareness of it because you’re playing the game. Question: Can you describe Body Sleuth, your virtual-adventure thesis project?Īnswer: My research has been trying to find ways to remind us that we have bodies and reimagine how technology could be enhancing our quality of life in a different way, a holistic mind-body connection. Here, Lindegren talks about her time at ASU. “For me it’s been a lot about reclaiming technology and giving agency to the body, and to the dancer and to the human that’s in the space, rather than having the human adapt to the technology.”
“If I want to project work onto a backdrop, I’m thinking about the movement that would work with that projection and how I can use technology to amplify what’s happening in the body.
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Lindegren has explored how to merge dance and technology in the context of body movement. I had a lot of freedom while still meeting the requirements.” “I had a lot of supportive faculty in the dance department who said, ‘We don’t quite know what to do with you, so you can figure it out.’ And I appreciated that. My experience was exploring what the field of dance and technology could be and what it looks like now,” Lindegren said. “I did a smorgasbord of different technology to understand the field. “I applied to film schools and dance MFA programs, and I chose ASU because the School of Arts, Media and Engineering had more options for tech - tech I never heard of and was terrified of at the time.” The director is directing the gaze of the camera. “Dance on camera is a very specific genre. So I did a lot of dance on camera, or dance on film,” she said. “Before I got into this program, I did a lot of dance videography. She calls her area of study “dance and technology” and describes it this way:
Lindegren, who is earning a master’s degree in fine arts, is the Outstanding Graduate Student in the Herberger Institute for Design and the Arts this semester. Ri Lindegren is graduating from Arizona State University with a degree in a unique area - dance and interdisciplinary media and performance. DecemHerberger Institute Outstanding Graduate Student explores mind-body connectionĮditor’s note: This story is part of a series of profiles of notable fall 2021 graduates.
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