...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...
Dissertation, William Forsythe, movement alphabet, deconstructing classical ballet, Cunningham, postmodernism, dance, trace, counterpoint.
Lineage of movement alphabet, lineage of breaking the boundaries of choreography, counterpoint, interrelationships, collaboration, exchange, Gesamtkunstwerk. drawing and the body, drawing with the body in space, drawing and movement, movement as drawing, counterpoint a tool for creating complex resonant art work,......
"Benveniste denies that the bee has language, even though it has an organic coding process and even uses tropes. It has no language because it can communicate what it has seen but not transmit what has been communicated to it. A bee that has seen a food source can communicate the message to bees that did not see it, but a bee that has not seen it cannot transmit the message to others that did not see it.6 Language is not content to go from a first party to a second party, from one who has seen to one who has not, but necessarily goes from a second party to a third party, neither of whom has seen. It is in this sense that language is the transmission of the word as order-word, not the communication of a sign as information. Language is a map, not a tracing. But how can the order-word be a function coextensive with language when the order, the command, seems tied to a restricted type of explicit proposition marked by the imperative?"
page 97 Deleuze and Guattari, A Thousand plateaus Capitalism and Schizophrenia
Understanding lineage and interconnectedness between times and genres.
Focusing on the development of shared ideas and collaboration of artists
working with drawing, dance and counterpoint. (Justifying my attachment to the
past and hoping to clarify elements of my love for choreography.)
from his website: "Quayola is a visual artist based in London. He investigates dialogues and the unpredictable collisions, tensions and equilibriums between the real and artificial, the figurative and abstract, the old and new. His work explores photography, geometry, time-based digital sculptures and immersive audiovisual installations and performances.
Quayola’s work has been exhibited at the Venice Biennale; Victoria & Albert Museum, London; British Film Institute, London; Park Ave Armory, New York; La Gaite Lyrique, Paris; Forum des Images, Paris; Grand Theatre, Bordeaux; Palais des Beaux Arts, Lille; MIS, Sao Paulo; Triennale, Milan; Sonar Festival, Barcelona; Elekra Festival, Montreal and Clermont Ferrand Film Festival."
from the website: "Loops is an abstract digital portrait of Merce Cunningham that runs in real time and never repeats. Originally commissioned by the M.I.T. Media Lab for the “ID/Entity” show, its sound score was re-made for Ars Electronica in 2005, and in 2007 it was re-created in tryptich form and its underlying code released as open source. Loops is a portrait of Cunningham, but it attends not to his appearance, but to his motion. It is derived from a motion-captured recording of his solo dance for hands and fingers. The motion-captured joints become nodes in a network that sets them into fluctuating relationships with one another, at times suggesting the hands underlying them, but more often depicting complex cat’s-cradle variations. These nodes render themselves in a series of related styles, reminiscent of hand-drawing, but with a different sort of life. Many viewers liken their experience of seeing Loops to that of gazing into nature: its flickering motions put them in mind of fire or of primitive biology, perhaps seen under a microscope. Just as Cunningham’s motions generate the imagery in Loops, we use his voice to generate the music. The initial source is Cunningham reading diary entries from his first visit to New York City in 1937, when he was 17 years old–an old man’s voice evoking an earlier city and an earlier self. Since we had the idea that if Cunningham was speaking, then we would have John Cage listening to him, at least virtually. And so we propel the intonation and rhythm of Cunningham’s sentences into a virtual instantiation of Cage’s prepared piano. The pattern of the notes they strike is picked out and then evolved by autonomous musical intelligences, not only “listening” to the sound of this speech, but also “reading” the content of its sentences: the compositional structure derives from the spatial/metaphorical structure of that text. The musical “score” for this work does not specify the exact notes to be played, but instead establishes a series of potential relationships between intonation, metaphor, and a range of equivalent piano tones. These relationships are selected and played out slightly differently each time. Loops has existed in four versions. In 2001, It was commissioned by the M.I.T. Media Lab for the “ID/Entity” show; in 2005 its sound score was re-made for Ars Electronica, in 2007 it was re-created in tryptich form and its underlying code released as open source; and in 2011 it was recreated in cinema-resolution 3D for the New York Film Festival.In the first three versions, Loops was computed in real-time and was , in effect, a live performance (the program is the only other “performer” of this choreography than Cunningham, who has never set the work on any other dancer.) The 2011 3D film version is has a fixed duration of 13’40"."
Trisha Brown Dance Company - Opal Loop / Cloud Installation #72503 from Dance Umbrella on Vimeo.
I almost missed looking at Trisha Brown when I realized that she is a key reference for me!
Forsythe spoke about her and counterpoint in his interview for One Flat thing with Thierry de May ........ (see the first video in the tab: William Forsythe)
Inside Movement Knowledge / Inside Movement Knowledge is a two-year collaborative, interdisciplinary research project into new methods for the documentation, transmission and preservation of contemporary choreographic and dance knowledge. The overall aim is to contribute to dance’s artistic and professional development and enhance the potential of its social benefits by making it more accessible for specialist and general audiences.: http://insidemovementknowledge.net/
Motionbank / In dem 2007 erschienenen Essay „Apropos Partituren” hat Rebecca Groves, ehemalige Geschäftsführerin der US-amerikanischen Forsythe Foundation, William Forsythes Ansatz „zur Schaffung einer neuen Art von ‚Tanzliteratur‘ für eine breite und interaktive Leserschaft“ vorgestellt. (1) Mit Motion Bank wird dieser Ansatz verwirklicht. Die großzügige Unterstützung des Projekts ermöglicht es, digitale Online-Partituren in Zusammenarbeit mit Gastchoreographen zu erstellen und diese im Internet zu veröffentlichen (siehe Partituren) sowie sich an Ausbildung undForschung im Bereich der Entwicklung von Partituren zu beteiligen.http://motionbank.org/resources/
Openended Group / William Forsythe’s methods of choreography are strikingly algorithmic and give rise to a style of movement and interaction that is distinctively his own. This conversation between Forsythe and Kaiser was recorded in 1998 and later published in Performance Research, v4#2, Summer 1999. ....... http://openendedgroup.com/index.php/publications/conversations/forsythe/
from the youtube listing: DE: Der Moment, in dem die Sprache versagt und die Gesten ihre Bedeutung verlieren. Die Grenzen der Kommunikation, das Scheitern des Ausdrucks: Indem die amerikanische Choreografin Meg Stuart die Masken, Fiktionen und Wünsche der menschlichen Seele ausstellt, erinnert sie uns an unsere Verletzlichkeit. Doch so sehr Meg Stuart das Misslingen von Dialog und Kollaboration in den Mittelpunkt stellt, so sehr ist ihr Werk von der Sehnsucht gerade nach deren Möglichkeit geprägt, von „dem Wunsch, die Zeit zusammenzupressen, die eigene Biografie neu zu schreiben, mehrere Körper gleichzeitig zu bewohnen, den Schmerz eines anderen zu spüren, die Leere anzunehmen, alle möglichen Wahrnehmungen einer komplexen Situation in einer einzigen Geste zu zeigen.Zum ersten Mal seit ihrem legendären ortsspezifischen Projekt „Highway 101 entwickelt Stuart gemeinsam mit ihrer Kompanie im Rahmen des steirischen herbst eine neue Arbeit für einen Ort, der kein konventioneller Theaterraum ist. Die große, leere Helmut-List-Halle nimmt sie als Herausforderung für eine Performance-Installation mit begrenzter Zuschauerzahl: Was unter dem Arbeitstitel „Project.08 bis zum Moment der Premiere in Graz entsteht, ist ein tänzerischer Abend zwischen Feier und Krise voller vergänglicher Verbindungen, unerbetener Geschenke und kleiner Wunder. EN: The moment when language fails and gestures lose their meaning. The limits of communication, the failure of expression: By exhibiting the masks, fictions and wishes of the human soul, American choreographer Meg Stuart reminds us of our vulnerability. But as much as Stuart focuses on the failure of dialogue and collaboration, her work is characterised by the yearning for their possibility, by the will to compress time, to rewrite ones history, to live in many bodies at once, to fully experience the pain of another, to embrace emptiness, to show all perspectives of a complex situation in a single gesture. For the first time since her legendary site-specific Highway 101 project, Stuart is developing a new piece for a non-theatre space together with her company for steirischer herbst. She takes the big empty Helmut-List-Halle as a challenge for a performance installation with a limited number of spectators: What she is developing under the working title Project.08 up to the moment of the première in Graz is an evening of dance set between celebration and crisis, full of fleeting links, unrequested gifts, and little miracles.
reference book: Abwesenheit, eine performative Ästhetik des Tanzes; William Forsythe, Jerome Bel, Xavier Le Roy, Meg Stuart. (written by Gerald Siegmund, 2006, publisher: Transcript)
The bodies of dancers are exhibited by Jerome Bel and Xavier le Roy; deforming them, reducing each movement to it's function.
The movements of William Forsythe and Meg Stuart are no longer beautiful in a classical sense. Forsythe became increasingly radical since the 1990's, confusing the audience. p.09
Q: what does it mean to dance on stage in front of the audience and to watch dance from the auditorium? [Dance
and cultural themes that make apparent the engagement / argument between
radical contemporary dance & the Christian body image] p.09
Abwesenheit: empty space, use of the body, separation of hearing and seeing, where in each case one parameter is made absent. The stage scene receives significant gaps / absences spurring the self imagination of the audience. P.10
With the term ‘absence’
it’s counterpart: presence is evoked. Can not been seen separate from each
other.
“The engagement
with ‘absence’ also: to open a space in Art, in which the subject is no longer
reflected, doesn’t encounter itself as self but as other” p.11
(Lacan theory of
split subject of the unconscious)?
“The dancing body
appears thus as desiring body, that is simultaneously in relation with: The
symbolic, the imaginary & the real” p.11
Practical
and theoretical Relationships between Drawing, Dance, Art and Music - some benefits of collaboration between artists of different genres. ***************************************************** Practical and structural Relationships between Drawing, Dance, Art and Music - some benefits of collaboration between artists of different genres.
I just ran out of tabs! Only allowed 20!
Well.. I'll need an additional blog with 20 more tabs in that case!
Because I love tabs!
And exclamation marks!
Iannis Xenakis: Composer, Architect, Visionary explores the fundamental role of drawing in the work of Greek avant-garde composer Iannis Xenakis (1922–2001). A leading figure in twentieth century music, Xenakis was trained as a civil engineer, then became an architect and developed revolutionary designs while working with Le Corbusier. Comprised of nearly 100 documents created between 1953 and 1984, this is the first North American exhibition dedicated to Xenakis’s original works on paper. Included are rarely-seen hand-rendered scores, architectural drawings, conceptual renderings, pre-compositional sketches, and graphic scores. Iannis Xenakis: Composer, Architect, Visionary is co-curated by Xenakis scholar Sharon Kanach and critic Carey Lovelace and will travel to the Canadian Centre for Architecture (June 17 – October 17, 2010) and the Museum of Contemporary Art, Los Angeles (November 7, 2010 – February 13, 2011). (from: http://contemporarydrawingsalon.blogspot.co.uk/2012/03/iannis-xenakis.html)
»Mass Black Implosion (Iannis Xenakis ST/48 – 1, 240162 )«, 2007 by Marco Fusinato.
