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

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

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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

"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)

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