[-empyre-] critical moving objects of a choreographic nature

NORAH ZUNIGA SHAW zuniga-shaw.1 at osu.edu
Thu May 14 20:11:47 EST 2009

Thanks Erin, this is beautiful and a nice addition to bill’s essay. And of course everyone CAN participate in a choreographic object in the form of Synchronous Objects in which a proliferation of models of potential transition from one state to another exist in the form of animations, interactive tools...online. Different than Bill's sculptural work of course. 

Wading in now to talking directly about my work as it relates to this theme...we describe Sync/O as the flow from dance to data to objects (of course it is not as neat at that and is really more of sustained engagement with a choreographic resource--Forsythe's One Flat Thing, reproduced--that involves creative analytical thinking manifested in words, pictures, animations, graphs, code and so on and these manifestations move us into new critical thinking that then makes new pictures and words and...). This critical making process required a shifting web of relationships within a group of designers, dancers, and scientists to understand, investigate and create visual traces of the organizational structures that make up William Forsythe’s One Flat Thing, reproduced. The objects we made—animations, graphics, computer applications—are investigatory and exploratory. They are the stuff of collaboration, reflecting and embodying the intersecting and transformative disciplinary relationships we experienced making them. Our objects are not a substitute for the live stage performance of One Flat Thing, reproduced, but offer alternative sites for understanding Forsythe’s work and seeing its choreographic structures unfold. As he says, “Ideally, choreographic ideas in this form will draw an attentive diverse readership that will understand and champion the innumerable manifestations, old and new, of choreographic thinking in this dance.” 
This brings me to Johannes’ question about readership. Bill’s statement above is really a question we have. Will choreographic ideas in this from draw an attentive diverse readership? Will our philosophical understanding of the multiplicity of manifestations sink in/activate/instigate/come through in what we’ve created? In our experience, viewing the dance this way has changed our perception of not only the dance but the world around us. In terms of choreographic readership we hope that our objects provide ways into noticing patterns in complex motion events (dances or otherwise), seeing the “analytical eye” as the “creative eye” and vice versa, and generating relationships that allow for agreement within a high degree of difference or what we call counterpoint. 

----- Original Message -----
From: Erin Manning <emanning at alcor.concordia.ca>
Date: Wednesday, May 13, 2009 10:40 pm
Subject: Re: [-empyre-] Joining In
To: soft_skinned_space <empyre at gamera.cofa.unsw.edu.au>

> For those who haven't had the pleasure of participating in one of Forsythe's choreographic objects, something on the choreographic object as inspired by Bill's work (a few extracts from a longer paper published in Inflexions: A Journal for Research-Creation www.inflexions.org)
> “The choreographic object: a model of potential transition from one state to another in any space imaginable” (Forsythe 2008)

  > Like his choreographies, Forsythe’s choreographic objects are created with very precise immanent conditions for movement: they insist on the precision of parameters for movement without divesting the movement of its potential for eventness. They are unforeseeable in their effects yet carefully crafted toward participation. They are objectiles thrown into the world, invitations to move-with. Forsythe speaks of seeking physical solutions to dramaturgic propositions.The choreographic objects are designed to provoke physical solutions that tend toward habit even as they divert toward the contrast of the new. This new emerges relationally, activated by propositions embedded into the choreographic objects’ potential deployment. These act not on individual will: they move the relation. 
  > Forsythe is interested more in the folding of space than the form-taking of bodies. His choreographic propositions begin with this folding, activating a creative tension between the virtual extensity of a durational rhythm and the actual intensity of a moving in time. From creating environmental conditions for performance to creating propositions for relational movement, Forsythe’s work remains an activity that folds forward into a complex ecological nexus. As a choreographer of missiles of movement, Forsythe’s work makes felt movement’s relationality as a force of matter itself.
  > “You don’t need a choreographer to dance." (Forsythe) What you need is a proposition. Propositions are ontogenetic: they emerge as the germ of the occasion and persist on the nexus of experience to take hold once more through new occasions of experience. Forsythe’s choreographic objects are propositions in just this sense.          
> On 13-May-09, at 5:26 PM, Sally Jane Norman wrote:> 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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 > ----------------------------------------------------------> Erin Manning> Concordia Research Chair> Faculty of Fine Arts> Concordia University> 1455 de Maisonneuve W.> Montreal QC H3G1M8
> http://www.senselab.ca> http://www.erinmovement.com> http://www.inflexions.org

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