...developing an understanding of structures of drawing that may affect the body and dance. *Utilizing dance and music notation, diagrammatic forms that represent the body and internal mechanisms, relating this to forms and movements in space that express conceptual ideas or narratives.. I may have no idea what I am talking about...
by just being and moving not by touching.. It is pretty rudimentary and not too inspiring but it shows what's possible, potentially. Only I think other people have done it better. hand gesture drawing machine from Paul Ferragut on Vimeo.
William Forsythe speaks about Tiepolo's drawings being positioned in space, with no up, no down. Accessible from any direction. I haven't yet found a really suitable example to illustrate his point, but here is a test..
I can only suspect that William Forsythe could have used any number of artist's drawings as a starting position for his choreography of Hypothetical Stream in 1997. William Forsuthe mentions how the drawings have no up or down and can be entered from any direction. I can not actually find a lot of evidence of Tiepolo drawing in that way specifically. I think it is very likely that a lot of sketches of other artists have this quality, too. But below is a good example of the directionless quality that Forsythe mentioned and used as a starting point to create a choreography for 8 dancer's.
Giovanni Battista Tiepolo (1696–1770) Three Studies of Bacchus Pen and brown ink, brown wash, over black chalk 13 x 10 13/16 inches (333 x 275 mm) Gift of J. P. Morgan, Jr.; IV, 117a
Hand-drawn Spaces - excerpt from OpenEndedGroup on Vimeo.
so happy to find it online! This is definitely a key reference for my dissertation. Missing Merce Cunningham. Who is today's Merce Cunningham, perhaps William Forsythe? Who is after William Forsythe?
beware I'm starting typing now.. Let's see if some shape will appear.. Right now it feels like I might as well try to make confetti into origami.. Hurrah, good luck to me!
Working on developing an understanding of structures of drawing that may affect the body and dance. Although I do think that my focus is very dance and body centered and most likely this description needs to be rethought profoundly! * Utilizing dance and music notation, diagrammatic forms that represent the body and internal mechanisms, relating this to forms and movements in space that express conceptual ideas or narratives..
Using the body for Narrative and abstract representation / mark-making in space. conceptual vs narrative.
Susan Kozel combines dance and philosophy in the context of new media: in other words she works with bodies, ideas and technologies. She has a PhD in Philosophy from the University of Essex, UK (1994), and a long history of various movement techniques (from ballet to butoh) but currently works primarily with phenomenology as a methodology and improvisation and a movement practice. Susan is now happy to start her permanent position as a Professor of New Media at MEDEA Collaborative Media Initiative, Malmö University.
More about Susan Kozel
She has taught for a range of university programs in the UK and North America (Dance, Philosophy, Interactive Arts, Digital Media) and. She balances her academic life with professional artistic practice at the convergence of dance and digital technologies as the director of Mesh Performance Practices.
She has published widely and performed internationally. Her collaborative performances and installations include the Technologies of Inner Spaces series (immanence 2005, Other Stories 2007 and The Yellow Memory 2009), whisper[s] wearable computing (with Thecla Schiphorst) 2002-2005, and trajets (with Gretchen Schiller) 2000-2007. Her writing includes the book Closer: performance, technologies, phenomenology (MIT Press 2007) which will be followed by a second book called Social Choreographies: Corporeal Aesthetics with Mobile Media (expected in 2012). Recently, she has written chapters for edited collections on performance research in The Routledge Companion to Artistic Research (ed. M. Biggs & H. Karlsson, Routledge, forthcoming 2010), and on corporeal ethics in Throughout: Art and Culture Emerging with Ubiquitous Computing, (ed. U. Ekman, MIT Press, forthcoming 2011).
Current work includes collaborating with dance scholars and artists Leena Rouhiainen and Mia Keinänen on the Intuition in Creative Processes initiative based at the Theatre Academy in Helsinki. This IntuiTweet project experiments with social networking applications (such as Twitter) for improvised performance with the aim of better understanding intuition. Other research areas include the interdisciplinary consideration of bodily expression in electronic music, and the articulation of an embodied methodological basis for artistic research.
She is a member of the Scientific Advisory Board for the Humanities Art and Technology Centre in Poznan, Poland, and the Quality Advisory Board of the Swedish National Research School in the Arts (Konstnärlig Forskarskola).
..what interests me is particularly as she speaks about the intimacy of Odin Theatre and how
the limited audience of 60 allows for an immersive, intimate experience where the audience
becomes part of the performance in a way that within a large audience wouldn't be possible.
This is also what I was interested in with my photographic work Chorus, I used large scale
to try and create a world that the viewer could become a part of.
The other interest I have initially in Roverta Carreri is the passion and warmth that infuses
her words. It is this kind of warmth and passion that attracted me to become an Artist. I
realize that it is of another time, the current art scene doesn't seem to allow for poetry. I
understand that I got caught up in a revival of narrative art that took place in the 1980's
and carried over to my early beginnings. But with the advent of technology developing
another art was called for and I didn't quite fit in. I cling to the romanticism of the 90's, in
my heart I am analogue not digital.
This conflict could work for me in this dissertation however. The striking difference to my
initial interest in dance and drawing and today is this: the digital revolution took place.
Everything I learnt and essays I wrote at university; essays rooted in the Art of Rauschenberg, Surrealism and Fluxus; everything now appears of another time altogether, is it devoid of
value because of this? Of course it depends on my aims. But can that old information, the
arts now in history and ready for the museum, can I still learn from it and take that what I
find with me into the present and possibly future?
I am hoping that William Forsythe will be one of my linking agents. But even this is going
to be problematic, he alone might not be enough. Although what I do appreciate about
William Forsythe is that while the movements of his dancers are so informed by geometry,
his choreographies are narrative, employ narrative elements. This is of huge help to me as I
search to formulate a new practice that is allowed to remain narrative while developing more
in a formal sense.
Some of this artist's works are very expressive. particularly the project where
he stands facing a wall and in 3 separate performances marks the wall in an
endurance project. This work really touches me. The example shown below
is less emotive but a nice place to start in getting to know his work. Tony Orrico
Forsythe will be a key figure in my dissertation. His movement schematics relate to
Oskar Schlemmers Triadic ballet (Bauhaus), Laban's system of movement and Merce
Cunningham's work. I will have a fair bit more to say about this soon. This is just to get the note taking started.
