[-empyre-] Joining In
Norah Zuniga Shaw
zuniga.11 at osu.edu
Wed May 13 03:58:12 EST 2009
Joining in to the critical motion practice conversation by first offering up
my work as a frame of reference for my subsequent comments.
from the initial concept of a generative motion trace. Creating a trace not
for preservation, not for repertory or reconstruction, not as an
etymological, archaeological, historical exercise, not to recreate the
experience of the piece or its genesis but to create a trace/traces of
choreographic principles or what we started calling a choreographic object.
Bill wrote an essay on this that might be of interest:
The interactive moving animations reflect on, work on, re-invent the
choreographic structures in a dance. They were generated at the intersection
of choreography, animation art, geography, architecture, theory (maybe) and
even I suppose a form of activism in that they are reaching out to invite
folks in to the dance and into some ways that we see patterns in complexity.
Are they a technological approach to movement? A critical one? They are a
mix of analytical and creative. They seek to generate new creativity while
representing a form of it (namely counterpoint in William Forsythe's One
Flat Thing Reproduced). They seek to invite a certain kind of "dance
readership." Counterpoint itself suggests some pretty radical ideas about
ways to relate and find agreement in motion that don't require unison (or
unity). The work is created in a complex community of practice that requires
both interdisciplinary and multidisciplinary practices for creation...
That's enough for getting started.
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