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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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

"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

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