[-empyre-] Joining In

Sally Jane Norman s.j.norman at newcastle.ac.uk
Thu May 14 07:26:50 EST 2009


Hi Norah,

great to see you in this mix of movements, body and concept. I'm still trying - very happily - to integrate the intense dose of work gleaned from the Sadler's Wells panel session on the choreographic object, and was delighted by Stamatia's posting on Monday (reproduced below) about Bernard Cache's "Earth Moves", which seems to offer a fantastic evocation of One Flat Thing. Wondering whether you'd followed this and whether you could be lured to rebound (fully tracked in 3D of course)?

very best
sjn

ps - Alan, your contre plongée avatar tandem brought to mind another of those weird "period" dances, the Jitterbug, maybe because I (fortunately) can't forget the joy of seeing Forsythe dance the Mashed Potato... wondering when we'll come up with specific, sufficiently lagful, juddering terms for these deportmental/ comportmental cinematic gesticulations of our second lives - which background words endow with a scary poignance...
  

Sent:  	 12 May 2009 03:57
In "Earth Moves", Bernard Cache defines the point of inflection as an intrinsic singularity which is not yet related to a particular development of coordinates and, like every 'solid' work of art for Deleuze and Guattari, is neither high nor low, neither on the right nor on the left, neither in progression nor regression, because it is in absence of gravity. Inflection is the pure event of a line or a point, a virtuality, an ideality to be actualised into a well-defined curve. In this case, the virtual inflection point of the videos appears as the idea of playing with the malleable folds of time, in more than two simultaneous directions at once.
A whole choreographic and causal geometry of sensations is consequently developed, or folded, after the idea, when the constructivism of drwaing, of the camera or of the technology transforms the point of inflection of a gesture into a fully formed curve. By following the formation of the movements in their continuing-forward from past to present and vice versa, and by revealing the serpentine line of these movements as a vector of symmetric exchanges, technology here seems to transform bodily movements into two-fold or circular structures. And it is surprising to see the artist's own transformation into a reverse-performer, together with objects and movements folding into a continuously renewed dance. I wish I could see this piece.

stamatia
________________________________________
From: empyre-bounces at gamera.cofa.unsw.edu.au [empyre-bounces at gamera.cofa.unsw.edu.au] On Behalf Of Norah Zuniga Shaw [zuniga.11 at osu.edu]
Sent: 12 May 2009 18:58
To: soft_skinned_space
Subject: [-empyre-] Joining In

Joining in to the critical motion practice conversation by first offering up
my work as a frame of reference for my subsequent comments.

We created

http://synchronousobjects.osu.edu

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:

http://www.wexarts.org/ex/forsythe/

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.
N


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