Saturday, August 18, 2012
Friday, August 17, 2012
images: Laban and Ballet directions of movement
an unedited selection of images. The one I was looking for was Laban 12 directions and Ballet 6 directions. Have not yet found a clearly labelled 6 directions for ballet image but the last image is for 12 directions of Laban.
sources above: in pdf files in folder: desktop - dissertation august 2012 - friday - laban/ballet
and at last I found the 6 directions of movement in dance: Directions of ballet movement at bottom of this link! YEAH http://www.h2g2.com/approved_entry/A3788850
link: Tacita Dean film about Merce Cunningham
Fx Reflects: Tacita Dean, Craneway Event, 2009: While Dean’s film installation is, as it’s subtitle claims, “a film with and about Merce Cunningham,” I also want to insist that it is a fi...
video: when the body does leave a trace
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.
hand gesture drawing machine from Paul Ferragut on Vimeo.
images: William Forsythe / Hypothetical Stream choreography (1997)
For the dance company of Daniel Larrieu
source for both images & great resources: http://sarma.be/oralsite/pages/William_Forsythe_on_Scores/
images: Tiepolo
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..
flying cherubs
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
*************************************************************************************
and then I found this, totally off topic but also by Tiepolo:
Thursday, August 16, 2012
videos: William Forsythe / Laban model / backbone of my essay!
I can't quite believe the luck that I found these:
Improvisation Technologies excerpt from volker kuchelmeister on Vimeo.
Improvisation Technologies Laban model from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Parallel Shear from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Extrusion Extension from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Lines and Planes from UNSW iCinema Centre on Vimeo.
IT Curved Lines from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Extruding & Collapsing Points from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Installation from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Noah D. Gelber demo from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Prototype from UNSW iCinema Centre on Vimeo.
Improvisation Technologies, A Tool for the Analytical Dance Eye from UNSW iCinema Centre on Vimeo.
Improvisation Technologies excerpt from volker kuchelmeister on Vimeo.
Improvisation Technologies Laban model from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Parallel Shear from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Extrusion Extension from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Lines and Planes from UNSW iCinema Centre on Vimeo.
IT Curved Lines from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Extruding & Collapsing Points from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Installation from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Noah D. Gelber demo from UNSW iCinema Centre on Vimeo.
Improvisation Technologies Prototype from UNSW iCinema Centre on Vimeo.
Improvisation Technologies, A Tool for the Analytical Dance Eye from UNSW iCinema Centre on Vimeo.
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.
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.
link: great website, very useful, very inspiring
http://sarma.be/oralsite/pages/Jonathan_Burrows_on_Scores/
Another nice website that I enjoy reading in a lot.
http://openendedgroup.com/writingIndex.html
Another nice website that I enjoy reading in a lot.
http://openendedgroup.com/writingIndex.html
video: Ikeda Carlotta - a great butoh dancer (buto)
(at the end of the video: good links to more butoh)
Wednesday, August 15, 2012
video: Tatsumi Hijikata, Hosotan (1972) / Butoh
I have such an absolute 'hunger' for Butoh, remembering quite vividly the
first time that I saw a screening of Tatsumi Hijikata's work in the Tate Moder,
some years ago. But I am just not sure that there is space for his performances
in my dissertation? But I am repeatedly like a bungee drawn back to Butoh.
I need to find out and find words to understand 'why'.?...
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.
Tuesday, August 14, 2012
video: Across Bodies and Systems: Interview with Susan Kozel
'social choreography',
I found this exciting woman!
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.
I found this exciting woman!
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).
link: not my post: Dance Research on Rudolf von Laban: What Laban Means to Me...
Dance Research on Rudolf von Laban: What Laban Means to Me...: A great gift is given to any dancer who studies Laban Movement Analysis. LMA has given me tools and a vocabulary that I could never come ...
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