[-empyre-] critical motion nowhere and everywhere at some time

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Thu May 14 04:25:00 EST 2009

-----Original Message-----
From: Johannes Birringer 
Sent: 13 May 2009 19:24
To: empyre at lists.cofa.unsw.edu.au
Subject: critical motion nowhere and everywhere at some time

hello all:

thanks Norah for drawing attention to a question that perhaps might like
to see itself addressed in this month's discussion, namely what would
constitute "critical motion" and what
such a term or concept implies for us here, to address, and why. 

Your brief reference to work (and dissemination of research) which,
admittedly, I was able to experience first-hand (and i am thus partial)
in London during the recent Forsythe festival, 
was refreshing in its questions... can you say more about

(I love Forsythe's worktitles:  "Nowhere and Everywhere at the Same

<<<<   Norah Zuniga Shaw wrote:
The interactive moving animations reflect on, work on, re-invent the
choreographic structures in a dance. They were generated at the
of choreography, animation art, geography, architecture, theory (maybe)
even I suppose a form of activism in that they are reaching out to
folks in to the dance and into some ways that we see patterns in

Are they a technological approach to movement? A critical one? They are
mix of analytical and creative. They seek to generate new creativity
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
ways to relate and find agreement in motion that don't require unison
unity). The work is created in a complex community of practice that
both interdisciplinary and multidisciplinary practices for creation...

I was in a production workshop over the last 10 days and am barely able
to shift energies now from physical work and computing/editing and
to the reading of such a highly complex and philosophical debate that we
have had here. 

 I could not read the debate in a linear way, as it began,
with Stamatia and Ashkey lighting out, and Erin following. 

Then i got to a point where i did not want to read further.  Did anyone
else have this

 The discourse, I began so sense, was becoming less than particpatory,
but i could be wrong. ??  I am sorry if I misunderstood.

What readership, Norah, was invited, in your work?

with many regards

Johannes Birringer
artistic director, DAP Lab
School of Arts 
Brunel University
West London 
UB8 3PH   UK

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