Title: Where the Rain Comes In  (AR Installation)
Concept: Arthur Clay (CHE)
Choreographie:  Pablo Ventura (CHE)
Dance: Vasco Ventura (CHE)
Musik: Arthur Clay (CHE)
Placement: Kroepke Square, Hannover, Germany

Where the Rain Comes In is a static dance work that exploits new technologies like Augmented Reality and Photogrammetry and uses them to explore the relationship between what is human in technology and what is humane in technology.  Conceptually, the work renders in form and motion  a depiction of  21st century existence., revealing the character of the lives we live as we twitter between the on-line and the off-line versions of ourselves and each other.

In Where the Rain Comes In live dancers are replaced with 3D scanned objects by scanning a dancer using photogrammetry. The resultand “static dance-objects” are then implemented as “poses” and set into motion with a computer driven choreography in an Augmented Reality setting. The process of creating the elements of the work bring two of of today’s  most interesting technologies together for all to see.

After being scanned and migrated into the virtual world of AR, the dancer  seen aesthetically through the looking glass of today’s technology as  a multitude of objects that are frozen in time and incomplete.

Left untouched, photogrammetry scanning leaves artifacts in the form of negative spaces in the bodies of the dancer-objects, which conceptually act like holes to a reality that we too often forget.  It is here that the work offers the opportunity to see the virtually-real “us” that we have created through the “peep holes” left to us by errors in human technology and conceptually “where the rain comes in”.


The music that is coupled with each of the static dancer-objects and drives the choreography at the same time celebrates classical heritage in the arts through a score that is based on neo-classic patterns. At the same time the combination of media twists any impressions of past forms to the new by transporting the ideologies of classicism into the present day and presents a contemporary commentary on an epoch that has formed the basis of European society.  At the same time, the combination of digital media (scanned objects and digital audio)  portrays today’s society of precarity and impermanence.

Algorithmic movement of the dancer-objects make use of the many paths and intersections of the street that cross through Kroepke Square, making an intense flow of movement from all directions, arriving and departing, and even sometimes colliding. If understood as a sculptural work with a kinetic basis, the combination of technologies and the freedom of an AR setting, as well as  the convenience of viewing the work through mobile devices,  offer the “choreographer-programmer” a  powerful palette of animations that allows the “dancers-objects” to float in mid air,  travel with speed beyond and below that of human ability, and to exploit a time frame of durations only possible with machines.

Kroepke Square is a lively and cultural knot in Hannover’s downtown pedestrian traffic zone. It is situated at the crossroads of Georgstraße, Karmarschstraße, Bahnhofstraße and Rathenaustraße. Pedestrian flow is constant and a potential audience is always present.  The square acts as a main meeting point in the city and is an a magnet for arts and culture.

The work is positioned there by satellites (Geo Tagging) and is designed to use Kröpcke Square as its stage. Appropriately, the work can only be viewed  through mobile communication devices. The positioning of the work  via satellites allows the viewers to explore the work as if on stage, changing positions and perspective and thus creating their own unique viewing of the work.
Through proper mediation and advertisement, access to the work is immediate and open for all 24 hours a day and 7 days a week, raising the potential number of viewers to above to those expected at traditional cultural venues.