Encyclopedia of Media Objects final presentation

Focus on spatial procedures and the architecture of movement maps so well onto computer algorithms and virtual spaces

Since we’re no longer restricted to the prescribed classical methods of connection, we’re open to an extraordinary leap in connection, which is just a matter of defining connective space. - W.Forsythe.

Subject-Verb-Object Actor-Spectator

On the book Resonant Bodies, Voices, Memories, and particularly a text by Jeroen Fabius - Con forts fleuve, politics of perception in the work of Boris Charmatz, a point on the relation between communication and perceiver, although in the theatre context, seems to relate the same way in overall modes of performance, including dance:

"In dealing with politics, theatre cannot compete with the directness or speed with the means of communication of mass society. But, at the same time what characterizes communication in contemporary society is the loss of the communicative. A spectator can no longer assess the value of what is presented; everything is reduced to information; the gap between experience of an event and perception of the event is so big, that there is no way to assess what really is determining one's experience. " "Theatre can respond to this only with a politics of perception, which would at the same time be called an aesthetic of responsibility (r response-ability). Intead f the deceptively comforting reality of here and there, inside and outside, it can move the mutual implication of actors and spectators in the theatrical production of images into the centre and make visible the broken thread between personal experience and perception - Hans-Thies Lehmann"

Time//Duration + Space

Labanotation uses abstract symbols to define the:

- Direction and level of the movement

- Part of the body doing the movement

- Duration of the movement

- Dynamic quality of the movement

Territory - spatial and temporal - is always “existential territory“. It has as much a territorry that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance

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http://www.walkerart.org/collections/publications/performativity/introduction/

. "limitless potential of ideas to take form as actions and in the constant questioning of what constitutes art and artistic practice as they turn to the live, the immediate, the immersive, and the participatory for the realization of their work"

. See Paul Schimmel, “Leap into the Void: Performance and the Object,” in Out of Actions: Between Performance and the Object, 1949–1979 (Los Angeles: Museum of Contemporary Art; New York: Thames & Hudson, 1998), 17–119. Schimmel, the curator of the exhibition that this volume accompanied, used the term “performative object” throughout his essay to refer to objects produced in or for performances, which ultimately came to be seen not only as traces or relics but also as artworks in their own right.

. “constructed situations”

. "As Shannon Jackson writes in her essay in this volume: “The hazy understanding of the term [performativity] arguably contributes to its ubiquity, as ‘performative’ becomes a catchall in an art and performance scene that has undergone incredible expansion…. It seems to provide an umbrella to cluster recent cross-disciplinary work in time, in space, with bodies, in relational encounters—even if the term does this work without saying anything particularly precise.” Jackson identifies this phenomenon as the intermedial use of the performative vocabulary. In an essay titled “Performativity and Its Addressee,” Jackson, a scholar specializing in rhetoric and contemporary visual and performance art and theory, provides us with an important and necessary grounding in the topic of performativity through the position and role of the receiver (i.e., the audience, beholder, visitor, interlocutor, participant, spectator). She explores the frames and stakes of both the intermedial and reality-making contexts of performative practice while clustering her reflections around selected artworks and thinkers from the mid-twentieth century to the present. She argues for a precise and varied vocabulary for the wide variety of expanded, cross-media practices that we now encounter regularly in museums, on stages, and in the streets. Her focus ultimately is on three different historical moments that are framed by “performative” vocabularies: the “action turn,” the “Minimalist turn,” and the “relational turn,” each one a performative speech act with its own felicities and blind spots."

. "What the notion of the performative brings into perspective is the contingent and elusive realm of impact and effect that art brings about both situationally—that is, in a given spatial and discursive context—and relationally, that is, in relation to a viewer or a public. It recognizes the productive, reality-producing dimension of artworks and brings them into the discourse. Consequently we can ask: What kind of situation does an artwork produce? How does it situate its viewers? What kind of values, conventions, ideologies, and meanings are inscribed into this situation?"

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1.Tino Sehgal at Tate Modern : https://vimeo.com/54314537

2. Michael Clark company: http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/michael-clark-company-tate-modern-london-2295429.html

3. Anne Theresa: A Choreographer's Score - Cesena - Excerpt : https://www.youtube.com/watch?v=Nob9Avyi3W4 ("movement and sound is suspended"- STOP)

and Fase: http://www.moma.org/visit/calendar/exhibitions/1129

and Laban cube + floor patters: https://www.youtube.com/watch?v=rkfhae2sgbM

4. Vito Acconti: http://aaaaarg.org/ref/8efb6f1c80463fb968a1861c216555e6

5. Tanzquartier Wien - scores: http://aaaaarg.org/ref/71ea1bb7d0e0e35f9e2258b4a82ee9dd

6. Chance/Indeterminancy in Cunningham's method: http://en.wikipedia.org/wiki/Merce_Cunningham#Chance_operations

and Solo Suite in Space and Time 1953: http://www.mercecunningham.org/index.cfm/choreography/dancedetail/params/work_ID/54/

and the hexagram technique: http://en.wikipedia.org/wiki/I_Ching#Structure

http://en.wikipedia.org/wiki/Hexagram_%28I_Ching%29

http://en.wikipedia.org/wiki/Hexagram

7. Pina Bausch: https://www.google.nl/search?q=pina-bausch+ropes&source=lnms&tbm=isch&sa=X&ei=lrFZVYTTI8voUrOogcgM&ved=0CAcQ_AUoAQ&biw=1144&bih=751

8. Art/Life: One Year Performance 1983-1984 (Rope Piece): http://prod-images.exhibit-e.com/www_skny_com/TH_2012_07_Sleek0.pdf

9. A catalogue of steps: http://ddpaa.org/artist/dd-dorvillier/

10. Thinking with the body: Mind and movement in the work of Wayne McGregor | Random Dance: http://wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body/?video=4

11. William Forsythe | choreographic object: https://www.youtube.com/watch?v=59QRpcLgPOQ

12. https://www.youtube.com/watch?v=-U6gCS7QYXA

13 Arrangement by Joe Moran: https://www.youtube.com/watch?v=F7zuTFmr5m8

14 Meredith Monk: https://www.youtube.com/watch?v=EUfPmc_8E6c / https://www.youtube.com/watch?v=CsefAgYbdX8

15 A film in three parts after Oskar Schlemmer's dances. Book and Choreography: Margarete Hasting, Franz Schömbs, Georg Verden. https://www.youtube.com/watch?v=87jErmplUpA (theatrical)

16 Einstein on the Beach (Robert Wilson, Philip Glass and Lucinda Childs) https://www.youtube.com/watch?v=WW1RHByHJ8g

17 Merce Cunningham Walkaround Time dance performance 1968: https://www.google.nl/search?q=Merce+Cunningham+Walkaround+Time+dance+performance+1968&tbm=isch&tbo=u&source=univ&sa=X&ei=jzZvVfpjwpqyAfHqgYAG&ved=0CDIQsAQ&biw=1559&bih=1018

18 Wall floor positions, Bruce Nauman: https://www.google.nl/search?q=wall+floor+positions+bruce+nauman&source=lnms&tbm=isch&sa=X&ei=lvhuVduqH4qRsgGJ9IC4Ag&ved=0CAcQ_AUoAQ&biw=1559&bih=1018

"Dancing it specifies its contact with the ground, which remains the fragile of its stay in world. There is no ground beneath the ground, because every reality is a kind of floating architecture stretched above the abyss of botyomlessness. Dance articulates this knowledge about this uncertainty bu recognizing the reality of the subject as unfolded reality. It implies and re.actualises the ontological vagueness of human existence. This is what its ease is based on: on the affirmation of the indifinite, which marks the absence of origin of the subjectc and the certainty that nothing is certain in relation to its future, which remains contingent and vague..." Marcus Steinweg on Dance.

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1.http://en.wikipedia.org/wiki/Space_Harmony

2. https://instantcomposition.wordpress.com/knowledge-base-i-i-c/knowledge-base-structures/

3. http://aaaaarg.org/ref/c5db06bbe72a5b829162f33a01feaa6d

4. http://en.wikipedia.org/wiki/Glossary_of_graph_theory

5. http://en.wikipedia.org/wiki/Hamiltonian_path

6. http://aaaaarg.org/ref/b1fb9abdde28ed4cc92d7a4ef0e2c14c (on Lanban's)

7. Design at Large - David Kirsh, Thinking with your Body and Other Things: https://www.youtube.com/watch?v=EU6gSMLsCrg

The question concerning corporeity connects also with Merleau-Ponty's reflections on space (l'espace) and the primacy of the dimension of depth (la profondeur) as implied in the notion of being in the world (être au monde; to echo Heidegger's In-der-Welt-sein) and of one's own body (le corps propre).

M.M.Ponty - https://wiki.brown.edu/confluence/download/attachments/73535007/Phenomenology+of+Perception.pdf

This book implicitly urges architects to base their work on the experiences it will engender rather than on abstract rationales that may or may not affect viewers and users of architecture. It is about the architecture of the imagination.

http://monoskop.org/images/1/18/Bachelard_Gaston_The_Poetics_of_Space_1994.pdf