Dancing in hell

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The film is produced by 3D scanning the dance, which inspired by Dante inferno. Using 3D scan, we can construct the form of movement in the faction of a second. By layering series of digital point clouds, we are able to have the entire sequence of a particular act, such as descending a stair, walking in a passage, rotating between column, and even dancing in a room. Because photogrammetry construct model through a relation position, the moving bodies have distorted the physical space and present eccentric forms. In a traditional standard of the architecture survey, the changes between each set of models would be considered “imprecise,” but movement’s documentation challenges its concept of precision as reproduction by presenting scans of perception instead.
The representation of perception of space has existed in ancient time, particularly on the religious belief of unseemly spaces such as heaven or hell. In Renaissance’s painter illustration of Dante’s Inferno, Botticelli had attempted to illustrate the architecture of hell. He painted a sectional painting call “The Chart of Hell,” in which he depicted the movement of Dante and Virgil in a sequence of experience in hell. Botticelli illustrated this section as a series of rings stuck on top of each other, and those rings form an inverted cone. The architecture of inferno is not static space. Space is growing and extending as the characters move in the story. Each ring constructs through the perceptive of the moving and suffering figures in hell. The circle is not constructed through concrete masonry but build upon the perception of sinner’s constant movement: the inverted cone built from the experience of Dante and Virgil, the wayfarers of hell who witness the fall of sins. This section of Dante’s Inferno is a cut in the mind of perpetual, eternal moving sinners.

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