Proposal-draft
title: Choreographic Languages
Introduction
“For Massumi, affect is precisely a matter of how intensities come together, move each other, and transform and translate under and beyond meaning, semantics and fixed systems/cognitions. Part of the assumption here is that, even in the most reactionary circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why territory - spatial and temporal - is always “existential territory“. It has as much a territory that enables movement as something that keeps everything in its place, it is movement itself.” Reading / Feeling - If I Can’t Dance Archives.
What do you mean by “to choreograph”?
For my master thesis I aim to investigate the compositional processes found both in design and performance, and how movement is implied in the moment of production and its concretization/presentation/consumption.
When simultaneously looking at both realities what are then the bridges to establish between physical and digital models of mobilizing language, and consequently the body response in space?
"Acconci's progression from movement over a page to his own movement should not be seen as evidencing a replacement of the presence of language by performance but its extension."
WHY, Joana? Thesis intention
- relevant (speculative realism / accelerationism / anthropocene / extreme capitalism) - ethics
- embodiment / consciousness / awareness - ideology (phenomenology)
- personal (design and performance)
"Constantly re‑ inventing, bringing ideas and actions together, contributing to the being‑ together web of relations; to Deleuzian assamblage. Deleuze’s interest can be found in bodily capacity to make us think of the unthought. Moreover bodies have active power to affect and also passive power to be affected." Deleuze, G. (1989), Cinema 2: The Time‑Image, USA: University of Minnesota Press
Movement. What else? (the illusion of having static elements.)
My intention is to embrace a holistic (mind and body) approach in design practices, and encourage the use of choreographic thought and movement beyond performance practices.
As for my practice I hope to be designing a new design language that communicates between systems, find a system that allows for cross-breeding.
knowledge sharing / cross practice dialogue- performance allows to articulate ideas in action, to set them in motion. /
The elements of time and duration matter more prominently than in other traditional forms of art.We live in times of extensive technological acceleration and revolutionary transformations in media platforms, a data-driven society that is continually sparking new forms of human interaction and social contexts.
keywords
Objects (in) Space (in) Time.
- OBJECTS - as human and not human bodies.
- SPACE - physical & digital. virtual too?
- TIME - different rythms.
Choreography
= something, such as a series of planned situations, likened to dance arrangements. (from The American Heritage® Dictionary of the English Language, 4th Edition)
= the representation of these movements by a series of symbols.
= the notation used to construct this record. (from Wiktionary, Creative Commons Attribution/Share-Alike License)
= the art of composing dances for individuals or groups, including the planning of the movements and steps;
= the planning and coordination of activities for an event, especially one to be held in public. (from the GNU version of the Collaborative International Dictionary of English.)
Performance
“performativity is derived, of course, from ‘perform’, the usual verb with the noun ‘action’: it indicates that the issuing of the utterance is the performance of an action – it is not normally thought of as just saying something.” — Austin, J. L. (1975), How to do things with Words, UK: Harvard University press, 2nd edition, p6-7 *2 Derrida, J. (1977), Signature
-Performance = language /communication.
-Performance = factor for social harmonization and cohesion.
-Performance = hybridization of the body and technologies in a both real and speculative approach.
Practical steps
Method
1. An Inventory. - gathering examples of the methods and tools used for graphic designing and performance purposes. This includes choreographic scores, scripts, programming languages, and software.
If designers assemble and organize different graphic elements, defining where these are set in space, positioning of such elements inherently sets a specific rhythm and flow, which is then perceived in the moment which is accessed by the readers/ perceivers.
The process of building this environments and the language used and developed for this matter also follows certain parameters which are interesting to analyze and compare to those from the dance field.
2. Analysis and Experimentation. - The material being collected will help me understand how to draw a parallel between this different methodologies, and how they inform one another.
By looking at how different design decisions, in both digital and physical spaces produce time and affect people's movement and by analyzing a few choreographic approaches (methods for triggering movement), I aim to understand what movement qualities could be explored while designing surfaces? And what powers of invention or transformation does it set free?
On the performance side, my research is now focusing on choreographic systems from post-modernist dancers, which philosophies mostly looks at basic movements of the body, highlighting the essence of movement. In this there is indeed a strong move towards functionality and the body as communication tool for specific ideas.
Various choreographers and performers developed techniques tied to philosophies in how to move and perform. Being Martha Graham fundamental use of body, exploring basic movements such as walking and breathing or Yvonne Rainer minimal approach to the expression of movement and effort, along with other contemporaries will serve as base to some experiments.
In the theoretical spectrum, I am interested in continuing studying the culture and historicity of dance rituals, how that influenced or not the western post-modern. And virtual space (s) / cyborgs to contact experts and practicioners on areas - as such as multimedia performance, human space perception, computational creativity and software studies, for further comprehension and better research outcomes.
_ A study case: interplay between forms of action and forms of typeface. and how both develop like a dialogue
To transverse the experimental terrain between space and form, time and duration that would allow to look at graphic technology in unconventional ways. "The sense of the figure in space, movement the sense of oneself, the human." -Stuart Brisley
physical limitations of one space and the other.
physical narration: The responsibility of telling the story lies with the choreographer. http://www.humankinetics.com/excerpts/excerpts/quality-of-movement---emotions
https://pzwiki.wdka.nl/mediadesign/OSPworkshop
Different references and choreographic methods in performance, allow for deeper understanding of the potentiality of movement qualities. To continue finding common units, I listed questions for both practices and variables to explore:
Q. What elements set rythm in space?
Q. How actions follow time in space?
Variables important to consider:
qualities such as flow and rythm tension mobility/ stability
Geometry : coordenation of visual elements - Language - graphic / numeric / alphabetic. the mathematics behind bezier curves, in order to be able to calculate their lengths, bounding boxes, intersections, unions, etc.
>
> individual/collective
> active/passive (participation questions: http://www.veralistcenter.org/art-and-social-justice/conflict/12/audience-participation-spectatorship-modes-of-address/)
> author/spectator or writer/ reader?
> Ephemerality
to enhance the performative qualities of being temporally present, spatially present: I now would like to continue to reflect upon the difference between discrete definition and one's actual perception of those same time values. In this way ephemerality becomes key, as well as its transformative effects that persist afterwards.
> consider: Composition (mapping/ placing - accessibilitiy)
> determinism / chance and randomness (to give room for the unexpected, where anything can potentially happen).
2. Sound
> web - experiences that makes more tangible the notion of time. ANTI- performance? negative of performance (stop/pause)
> individual vs collective experiences.
Q. How individuals and/or collectives perform under the same guidelines in both digital and physical spaces. Is there a clear distinction or is the line between both realities an "illusion"?
The project I hearby propose is process oriented, and based on the creation of a series of moments of (critical) reflection concerning our embodiment in different space circunstances. I believe processes in design can learn from processes in performance, challenging the conventional design thinking. This cross-referencing system opens the possibility to unveil new aesthetic, energetic and social dimensions of design production processes.
3.The end will come in end. - I can see for now two options: one being a performative utterance, the other a hybrid scenery, in whic the outcome would be a multimedia set up, displaying a collection of materials from the process that go back to the first question raised.
As the performative character of my work may raise questions of documentation, I will consider to develop a platform next to the project to best support it. (Hybrid publishing / Print & Digital)
Thesis intention...continuation
"Deleuzian terms as capacity to transform situation, I think it’s more than appropriate to present the ideas of theatre historian - Erika Fisher‑Lichte. She writes about the Performative turn of the 1960’s and breaks down this phenomenon into its components to explore its transformative and interactive powers. She explains that live performance is shaped by interaction between performer and spectator, where anything can happen."Fisher‑Lichte, E. (2008), The Transformative Power of Performance: A New Aesthetics, UK: Routledge, p136
‘By using the term embodied we mean to highlight two points: first that cognition depends upon the kinds of experience that come from having a body with various sensorimotor capacities, and second, that these individual sensorimotor capacities are themselves embedded in a more encompassing biological, psychological and cultural context.’ _ Eleanor Rosch
Movement (of the body) is one of the central concepts in my research, as being something that defines how human beings relate and perceive the world, how they access information, and process it. If communication stands for the transmission of knowledge, indicated as “the transition from one point to the next”, that is as one “directional destination” to the next (at wikipedia), than the concept of movement is intrinsically connected. The question is which role do we play in this constant movement? How oneself is made conscious of the different aspects we are surrounded by.
In regards to movement of the body, one of my main references is Alva Noë, one of the theorists that inspired the EEC programme - Embodied Embedded Cognition. Noë investigates the structures of experience and consciousness (phenomenology); Presenting experience as the "basis of accessibility", allowing humans into "achieving access to the environment".
In an interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Noë discusses "Dance As A Way Of Knowing". He explores the idea that human consciousness is something we enact or achieve, in motion, as a way of being part of a larger process. Motion as "sensory motor understanding is what brings the world into focus for consciousness." Noë highlights the fact that motion relies on a "temporally extended involvement", which enhances sensorial perception and consequently produces sensorial change: "transformations that happens in you while you go across the process; what is that transformation? Is understanding, is seeing connections, is knowing your way around." Presenting dance as a way to enact experience, thinking in motion - "dance in a sense of performance is an enactment or modeling of this fundamental fact about the world around us, which we dynamically interact with.".
In dance, along with similar kinesthetic experiences, the human body reaches an intense sensorial perceptual experience, composed of information from many places in the body, finding the need to have an understanding of/control over of sensory consequences of their own movement. It can be seen either as personal, depending on the case- collective, confrontation - creating great awareness.
Maxine Sheets-Johnstone, started her career as dancer/choreographer, and is now an independent scholar, philosopher, which part of her research focus on the primacy of movement in perception and our fundamental understanding of aliveness. Sheets-Johnstone defines movement as the foundation of Being and consciousness by ‘‘articulating a metaphysics true to the dynamic nature of the world and to the foundational animated nature of life’’. According to Sheets-Johnstone, ‘‘movement is our mother tongue’’ as we make sense of our own bodies and understand the world. As we move, we discover a sense of aliveness and of being grounded in movement. Movement is the source of our senses,in space and time, subjectively in ‘‘felt time’’. Sheets-Johnstone shows uslife as movement, sensing as motion, interaction, imagining and meaning-making as action. at https://www.academia.edu/5207361/Maxine_Sheets-Johnstone_The_Primacy_of_Movement
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).
Another reference on sense experience and human perception is Brian Massumi's reflection on Feeling, Emotion and Affect on his book Parables of the Virtual, Movement, Affect, Sensation. “For Massumi, affect is precisely a matter of how intensities come together, move each other, and transform and translate under and beyond meaning, semantics and fixed systems/cognitions. Part of the assumption here is that, even in the most reactionay circumstances, nothing happens if affective intensity has not already paid us a visit. This refines our understanding of why 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 Archives.
"One night not long ago, I dreamt I was explained the main difference between classical physics and quantum physics. It became perfectly clear to me that where classical physics is deterministic and assumes that the world is constant, ruled by the same laws on all levels, quantum physics looks at statistical, normative movements. In quantum physics there is not one standard way for an object to behave. The state of the phenomenon one wants to observe, take light as an example, can only be determined in the instance it is being observed: Light can be both wave and particle simultaneously. I recognized that in order to explain a single phenomenon, one needs two mutually exclusive theories." http://www.toriljohannessen.no/Nonlocality_page7.html
"The absence of an empirically identifiable meeting point between the non-physical mind and its physical exten- sion has proven problematic to dualism and many modern philosophers of mind maintain that the mind is not some- thing separate from the body.[8] These approaches have been particularly influential in the sciences, particularly in the fields of sociobiology, computer science, evolutionary psychology, and the neurosciences." at https://en.wikipedia.org/wiki/Mind–body_problem
In different disciplines, motion has been the main caracter for developing theories around the most intrinsic questions of humanity. In physics, motion is a change in position of an object with respect to time. Motion is typically described in terms of displacement, distance (scalar), velocity, acceleration, time and speed. Motion of a body is observed by attaching a frame of reference to an observer and measuring the change in position of the body relative to that frame n If the position of a body is not changing with the time with respect to a given frame of reference the body is said to be at rest, motionless, immobile, stationary, or to have constant (time-invariant) position. An object's motion cannot change unless it is acted upon by a force, as described by Newton's first law. Momentum is a quantity which is used for measuring motion of an object. An object's momentum is directly related to the object's mass and velocity, and the total momentum of all objects in an isolated system (one not affected by external forces) does not change with time, as described by the law of conservation of momentum.
Our "shadowy" apprehension of reality in terms of flux, so graphically parabled by Plato in his Republic, has made its greatest impact through Einstein's theories, which demonstrate that energy and mass are interchangeable in the inseparable continuum of space and time. Quantum physics actually refers to subatomic partides, the shadowy stuff of which the universe is made, as “tendencies to exist.” These findings, affirmed by Heisenberg’s principle of “indeterminacy,” indicating how the nature that we seek merely to observe cannot help but be altered by man’s presence, confirm Renaissance man’s largely intuitive recognition of his own personal sense of spatialty, thus making it possible for Leonardo and Bramante to conceive of an art of performance and for us to recognize it as such today. The Art of Performance, A Critical Anthology - 1984 Edited By: Gregory Battcock and Robert Nickas
As there is no absolute frame of reference, absolute motion cannot be determined Thus, everything in the universe can be considered to be moving.at wikipedia.
The concept of motion is also inherently connected to the development of communication technologies and by the introduction of cybernetic systems, embracing both human and non human entities into a a network of interactions. Arriving at last to the realm of contemporary philosophy, specifically the speculative realism movement, an object-oriented philosophy which arises from what Graham Harman determines to be a core fallacy in contemporary metaphysics, that the “root duality of the universe is not made up of subject and object [….], but of objects and relations.
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Relation to previous practice
My interest in motion follows my performance practice, in which movement is presented as basis for the interrelation between brain - body - world, and consequently the gateway to achieve knowledge. From subliminal to more explicit approach, movement is often set under strict guidelines, both inside and outside the realm of performance.
My previous studies on graphic design and overall interest in different communication systems, made me start following a research on on choreographic scores, a particular system which stands for "writing movement". Choreographic language follows diverse structures, that enable composition and trigger action. There are multiple forms for representing it, from graphic,to linguistic, or geometrical; relying on imagery, sound, and so on. Either ways, meaning is created.
I am interested in choreographic scores as existing in themselves as notation systems, and also in its performative state.
TRIM1 - choreography as writing (/communicating) movement
For this project I created a new choreography piece, based on found material from ancient Geranos Dance: a series of drawings part of the François vase (6th century BC), and a written description by Pollux, a Greek lexicographer from the 2nd century AD.
I am interested in the multiple ways of communicating movement , and used different language systems to write the same choreographic piece: written words together with a geometrical and graphical representation; The geometric module served then as basis for a pattern, the ultimate abstraction of the piece, readable and understood by those who share the same code. In this project I only explored choreography as means for writing movement, leaving the actual side of performing it apart.
TRIM 2 - choreography as an object in space
For the Photobook Project, I created a sculptural piece, a continual physical surface for the user to relate with. This way, I had positioned the viewer/spectator as the performer, proposing a tighter relation between communication artifact/interface and perceiver. The piece built for this project also acknkowledged a reflection on accessibility and wayfinding experiences through built environments. This "human-environment interaction" creates a parallel towards how people behave, react to spacial elements and structures, either in regards to analogue or digital medias. In this case, the process of "wayfinding", getting acquainted with the piece by means of following very concrete physical attributes, aims to point to the same patterns in the realm of publishing.
TRIM 3 - choreography as multiple interventions in space
In this seminar I researched different choreographic approaches in the realm of performance and art, and selected three: Chance Operations, by Merce Cunningham; Wall-Floor Positions, a video piece by Bruce Nauman and Sticks, part of a series of interventions on public spaces and later integrated in museum spaces, by Trisha Brown. I chose these for being very diverse techniques of generating choreographic scores and consequently having a very different effect on the way people may be able to interpret it and perform it. The first one by Cunningham was presented similar to a game structure, in which short instructions would be chosen by chance, and would serve as navigational instruments; a sequence of actions which played with re-orientation and trajectory in space. The second inspired by Bruce Nauman video art piece, aimed for a sort of solo improvisation, in which people would lean to the wall and draw an outline of their body with chalk. This way the traces of the moment remain in space. At last, Trisha Brown's re-interpretation was done by using sticks as an external body into the choreography which was simply driven by the act of walking. Contrary to the previous one, this could be seen as a collective improvisation, in which body acts as the main common language.
My interest on spatial procedures and the architecture of movement happens both in physical spaces so well into digital spaces. In between trimesters, I have also been doing small prototypes, towards an experimental use of programming tools, for this, I developed a series of webpages in which a reflection on the time (duration) and space (web interface) is raised.
Relation to a larger context
- Minimalism;
- Conceptual Art;
- Fluxus;
- "Instructions" avant gard movement;
- Happenings;
- Neo-concrete;
- Gutai;
- Lettrism;
- Video and installation art from the 70's;
As part of my theoretical research I have been investigating on different philosophical strands that focus on experience, such as empiricism, a fundamental philosophical position that claims all knowledge arrives directly from sense experience; and most lately phenomenology the study of our experience — how we experience.
As for the study of how different disciplines deal with experience, I have been looking at the fluxus group and the "instructions" avant gard movement, happenings, conceptual art, minimalism, video and installation art from the 70's until now, as well as performance art, and choreography in dance. It is of my interest how in these practices the role of the body in human experience and perception is emphasized, the techniques and technologies applied.
A list of references
(Remember that dictionaries, encyclopedias and wikipedia are not references to be listed. These are starting points which should lead to more substantial texts and practices.) As with your previous essays, the references need to be formatted according to the Harvard method.) See: http://pzwart3.wdka.hro.nl/wiki/A_Guide_to_Essay_Writing#The_Harvard_System_of_referencing
ON PERFORMANCE // CHOREOGRAPHY
http://www.booksonthemove.eu/en/shop/books/english-books/ (readings < ) http://sarma.be/oralsite/pages/Strata/ (documentation / dance archive) http://apass.be/artistic-reseach-center/archive/ (documentation / dance archive) motionbank.org (documentation / dance archive) http://www.ubu.com/dance/index.html (historical references/ dance archive) http://www.disjointedarts.com/home_xo/ressssssearches (postchoreography ?) http://wellcomecollection.org/whats-on/exhibitions/thinking-with-the-body/?video=4 (Thinking with the body: Mind and Movement by Wayne McGregor / Random Dance) William Forsythe (choreographic objects) http://www.enoughroomforspace.org/?news=performing-objects-brussels-art-days (choreographic objects) http://uva.co.uk/work (visual art and performance) On Scores, Notation and the Trace in Dance, by Myriam Van Imschoot MOVING WITHOUT a BODY by Stamatia Portanova (book) Isabel Maria de Cavadas Valverde in INTERFACES DANCE-TECHNOLOGY: a theoretical framework for performance in the digital domain (dance-technology thesis) Hetty Blades on Creative Computing and the Re-Configuration of Dance Ontology http://www.corpusweb.net/after-dance.html
Tino Sehgal at Tate Modern : https://vimeo.com/54314537
JUDITH SENG http://www.judithseng.de/projects/acting-things-iv/ _
POSTMODERN DANCE
"is only a term that addresses what people are doing now (at that moment)": https://www.youtube.com/watch?v=IHtSUQ-3FnI
The 1960s and '70s saw an analytic exploration of pure dance by the first generation of post-modern choreographers, such as Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, and Lucinda Childs. In the 1980s, a new choreographic impulse burst through this formal austerity. Dancers began to wrestle and juggle, dance to pop music and poetry, tell stories, play characters, wear elegant or outrageous costumes
https://en.wikipedia.org/wiki/History_of_dance
Does dance makes a difference? Anna Halprin Workshop for Movement Research / NYC
"- mind informs the body; body informs mind."
https://www.youtube.com/watch?v=e2diNM6EAc0 - impact. http://tamalpa.org
_
Performance Art: Life of the Archive and Topicality.
http://www.salazarsutil.net/ -
?further readings::::
http://occasionalpapersshop.tictail.com/product/the-artist-as-instigator
http://www.sternberg-press.com/index.php?pageId=1514&l=en&bookId=408&sort=year (Chantal Pontbriand (Ed.) Per/Form How to Do Things with[out] Words) http://www.sternberg-press.com/index.php?pageId=1601&l=en&bookId=495&sort=year (Mathilde ter HeijnePerforming Change) http://www.mottodistribution.com/site/?p=35486 (THE VISUAL EVENT : An Education In Appearance. OLIVER KLIMPEL (ed.). SPECTOR BOOKS.) http://www.booksonthemove.eu/en/shop/books/english-books/?tx_commerce_pi1%5BshowUid%5D=2259&cHash=67d7697a2f http://networkcultures.org/blog/publication/no-05-spatial-aesthetics-art-place-and-the-everyday-nikos-papastergiadis/ http://www.temple.edu/tempress/titles/748_reg.html (The Roots of Thinking - Maxine Sheets-Johnstone) http://www.temple.edu/tempress/titles/2368_reg.html (Phenomenology of Dance - Maxine Sheets-Johnstone) https://mitpress.mit.edu/books/motion-and-representation (Technology and Motion Representation) http://realdancecompany.org/writing.html
https://www.bookdepository.com/Body-Space-Image-Miranda-Tufnell/9781852730413 (a narrative of discovery that sets the mind loose from the rut of everyday perception. From a starting point in movement, improvisation is extended to include groups working together and the physical setting of performance - space, light , sound, objects...)
https://www.bookdepository.com/Human-Movement-Potential-Lulu-Sweigard/9781626549449 (medical approach) http://www.palgrave.com/page/detail/the-body-dance-and-cultural-theory-helen-thomas/?K=9780333724323 (dance as a social and artistic (bodily) practice as a means of generating insights into the politics of identity and difference as they are situated...) _____
DESIGN (type/graphic)
Action to Surface by Tereza Rullerova.
http://juerglehni.com/ Compression by Abstraction: A Conversation About Vectors: http://rhizome.org/editorial/2013/jul/30/compression-abstraction/ http://luigiamato.net/post/101345820032/volume
____
ART MOVEMENTS
https://en.wikipedia.org/wiki/Lettrism (time-based media works < check ) http://www.walkerart.org/collections/publications/performativity/
Briony Fer in the book The infinite line (geometry and conceptual artists)
ARTISTS
Sol Lewitt Vito Acconci (http://acconci.com/movable-floor-1979-2004/) La Monte Young - Sobre El Minimalismo - Composicion 1960 #7 https://www.youtube.com/watch?v=P9xyT_b6ngA Henri Chopin; Guy de Cointet and Channa Horwtizt: Signs,Rules, Processes - Indetermination and deconstruction. http://www.marcellealix.com/artistes/oeuvres/1743/marie-cool-fabio-balducci http://www.collectivemagpie.org/work/
THEORISTS (on language/ media)
Method by Dick Raaijmakers Deleuze and Guatari Umberto Eco Guy de Cointet Lev Manovich, Database as a Symbolic Form. Meta-communication, by Gregory Bateson to refer to "communication about communication" "Mind, Nature, and Consciousness: Gregory Bateson and the New Paradigm. Blaeuer, D. M. (2010), An Ecology of Performance: Gregory Bateson’s Cybernetic Performance, USA: University of South Florida (In the book, Ecology of Mind, Gregory Bateson explained actions in terms of being performative within the complex system which they are part of. 13 I understand this system as human interactions, relations and reactions to patterns. Bateson’s patterns are acts of human perception and respond to the world which is in the process of constant change - a flow of life. <) ‘History’ of Search Engines: Mapping Technologies of Memory, Learning, and Discovery ¬ Richard Graham
"Art and Language" exhibition at MacBa.
http://www.tandfonline.com/toc/rdis20/15/2 (ask Steve help to access! <)
PHENOMENOLOGY
Brian Massumi's reflection on Feeling, Emotion and Affect on his book Parables of the Virtual, Movement, Affect, Sensation. Brian Massumi's Archive of experience. Interview with Marlon Barrios Solano, part of the Embodied Techne Series (2012), Alva Noë discusses "Dance As A Way Of Knowing" Merleau Ponty, phemenology of Perception Eric Shouse, “Feeling, Emotion, Affect”, MC Journal, Vol. 8, No. 6 (December 2005), http://journal.media-culture.org.au/0512/03-shouse.php
SPACE
Pattern: Ornament, Structure and Behavior, by Andrea Gleiniger and Georg Vrachliotis
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It was also important for me to visit If I CAN'T DANCE archives, for introducing me to contemporary art initiatives dealing with the concepts of performance and performativity. Some recent and relevant field trips, may include the Tino Sehgal at Stedelijk Museum, Cool Britannia - Het Nationale Ballet | Dutch National Ballet, the performance/exhibition from Anne Theresa at Wiels, the video art exhibition "Dancing Light / Let it move you" at Huis Marseille and a "Art and Language" exhibition at MacBa. Besides assisting a few performances, a workshop with Simone Forti's team was very useful as to better support my recent projects and deepen my knowledge on my exisitng interest towards choreographic methods and its further pratical use under performance. On a weekly basis I attend ballet and modern/improvisation dance classes at Dansateliers in Rotterdam.
workshop: http://ospublish.constantvzw.org/blog/news/inscriptions-for-up-pen-down-huppe-plume-tonne-open-now