Relationships between Drawing, Dance, Art and Music - tracing lines (presence and absence): videos

Showing posts with label videos. Show all posts

Sunday, August 26, 2012

video: William Forsythe / yes we can't

video: William Forsythe / Synchronous Objects

video/ link: "keeping the don't know mind" William Forsythe

http://www.sadlerswells.com/page/screen/29403951001#

video: William Forsythe / Artifact

link/Article &video: William Forsythe

http://www.semperoper.de/en/ballett/premieren/detailansicht/details/55915/besetzung/1581.html

fantastic video edit on the page of Semperoper

also on Artifact, another nice video:
http://www.telegraph.co.uk/culture/theatre/dance/9211413/William-Forsythe-interview-Artifact-is-an-ode-to-ballet.html

Saturday, August 25, 2012

videos for dissertation

architectural, solo piano vs mass of performers..

source: http://www.telegraph.co.uk/culture/theatre/dance/9211413/William-Forsythe-interview-Artifact-is-an-ode-to-ballet.html

Wednesday, August 22, 2012

videos: Trisha Brown Dance Company / Walking on the wall

!!!

I would like to find time to watch this and see if there is any material I can use in this:

(useful: at 8:30 she starts speaking about geometric forms )

videos/quotes: Merce Cunningham : Biped & Loops (dance for hands) & old interview

Try and follow the links below to see this video. I really like it. Loops (single screen excerpt) from OpenEndedGroup on Vimeo.

http://openendedgroup.com/artworks/loops.html THERE ARE ALSO LINKS THERE THAT I WOULD LIKE TO LOOK AT RELATING TO THIS PIECE.

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"."

concentrating on the pure movement of bodies..

videos: Abstract Birds and Quayola

Partitura_01_032, originally uploaded by Abstract Birds.
Partitura 001 from Abstract Birds on Vimeo.
Partitura #000 - Excerpt 1 from Partitura on Vimeo.
Partitura #000 - Excerpt 3 from Partitura on Vimeo.
Partitura #001 from Partitura on Vimeo.

Monday, August 20, 2012

videos: William Forsythe - One flat thing reproduced 01/03

part 2: http://www.youtube.com/watch?v=aCbVTR-l5RQ&feature=channel&list=UL
part 3: http://www.youtube.com/watch?v=TNebCPB9gqk&feature=channel&list=UL

videos: Etienne Decroux

Sunday, August 19, 2012

videos: William Forsythe & Alva Noe on Consciousness

02:00 choreography... jump around... "actually, it's a compositional practice"

videos: Jérôme Bel

"when movement starts to be awkward, it becomes interesting" Jérome Bel 00.45

I am not sure this works to illustrate what I just read about the choreographer..

videos: Xavier Le Roy

Thursday, August 16, 2012

videos: William Forsythe / Laban model / backbone of my essay!

video: Merce Cunningham hand drawn spaces

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?

**************
something else:
Nowhere and Everywhere at the Same Time (TRAILER) from Brock Labrenz on Vimeo.

video: 4. Points in Space (1986) Choreographer Merce Cunningham Dir Elliot Capl...

Tuesday, August 14, 2012

video: Meyerhold's Theater and Biomechanics - Screener

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where I found a structure / august 27th 2012

On of my key concerns in my undergraduate years was the movement of memory through time. I wondered how this could relate to concerns I have today.

Another interest that has remained with me but had little opportunity to follow is an interest in dance which I translate into: the body and movement in space. A love for lines made on paper, tracing words and drawings concludes my interests that I will use to construct a structure for this dissertation.

What do these interests share / what is the common ground? First I reduced them to key words: movement, ephemeral, passing, linear, order, time, inadequacy of language to notate, notation, trace.

here emerge three key terms:

movement

the limits of language = notation

passing / linear = time

------------------------------

concluding in: TRACES.

playing with turning it into a mathematical formula (didn't work but never mind that)

movement + linear passing (time) : limits of language {equal or same as} notation = trace

introduction / August 21st

My background is this: I love paper and pens, therefore I naturally love drawing. I often think of myself as leaving marks in space. For this reason I was for a short time a life model in order to make lines on paper by creating them in space. I also thought of my recent photographs in some ways as drawing with my body. I often consider the nature of choreographed movement; and think about the structure and mechanisms of the body due to something that affects my joints and periodically makes moving painful. Who owns a body and especially a female body and what it means to be inside of one has been an urgent question in my life. The disjunction between being present in my body and absent rings through emotionally. Dance and choreography have figured a number of times in my work. I tend to work from instinct, intuitively, romantically, naively. Yet I am eagerly looking for a theoretical language that could be mine.

think about this/ 19th August

*Forsythe interested in universalism or just dance?

*moving body as absence / disappearing body in my photos

*body performing absence as presence. Absence/presence

*the body now

*what is the contemporary body? / what is contemporary movement

*performing absence - body disappears in diagram / body disappears in motion, line language

*abstraction of body now; how it stays whole, how it performs it's fractioning & abstraction

*Peggy Phellin

*Cindy Sherman - disappears into body of other people's bodies - then those bodies disappear - then only objects - body reappears // dollparts = violent images (H. Bellmer, too?) // my work

*moving body -photograph - line drawing ..

*Difference between performance 30 years ago and re-staging today, where's the difference? Cunningham techniques today adapted and preformed, looks the same but isn't...

* where is the understanding today about body & performance?

*touching 2 things not just one (my point exactly)

*Algebra: sth of interest + theory + read + find sth in the middle like bridge = launch

*performing presence as absence, disappearing the body into language / body as language

*Abramovic ' artist is Present' didn't move, yet it was visible when she was present and when she drifted. (experience of friend of friend)

*relationship to alphabet

*expanding what body can do, yet in a dictatorial way ?? (training body as diciphal)

* Deleuze & Guattari: 1000 Plateau

chapter 1: story about bees transmitting 'knowledge'..

*performing body as presence - body disappearing into digital - face scanning + geolocation

*in what way do bodies continue to perform a language that is relevant today?

*stalker/stalked relationship to body = without saying it

*What is it for me to perform an androgenous body in a time when governments decide if women are allowed to have abortions; taking ownership over women's bodies in a different way to male bodies.

*presence - absence, polarity destabilized

*eroded discipline ; interested in moments of cross-over

*language moved from concrete to micro gesture (C.K.)

it's still a messy jumble / 17th august

yes I know.. I am working on it. I have finally typed enough words but the quality tails off right at the end, steeply! So I now have 5-7 full days to sort it out. It took so long to type just the words.. Now I'll need to think! I have things I definitely would like to talk about which aren't included yet. This is actually great because there are whole sections that would be ok to be culled or reduced to much smaller portions.

A key issue I have is that I ask myself all these questions but I am not sure I ever answer them at all.. So I would like to focus on that more during the week. signing out for now: Friday/saturday night. Sleep time.

reconfiguring ... / start 8th August

.. I have deferred my dissertation twice, taking me from 2010 to 2012. Again it isn't looking like as if anything is moving, coming together. But there is a difference. I have for now completely let go of the subject I was struggling with so much on my own. I realize that in order to write something I will have to write in a genre that I feel I can get a grasp on. Violence and the ills of the world are not something I have enough intellectual control over, it takes some greater brain than mine to add something worthwhile to the subject. It doesn't mean I have nothing to say. Just nothing really that worth while of me ruining my sleep while writing terribly trite material.

Instead I return to my previous interest in: Analogies between drawing and dance / reconsiderations of Gesamtkunstwerk. Contemporary choreography and how it is influenced by that of the early twentieth century, perhaps there will be space for Butoh, and body alignment and yoga too. I would like to build on this. Physical Theatre re-enters my thoughts as does a naivete that the cycnicism of the past years had muted somewhat. //// to be rewritten /// reclaiming the subject and my position on art

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