Proposal-draft
title: Choreo - Graphic 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 post-production. I see the possibility to establish a connection and elaborate more on a multidisciplinary link between – and coexistence of – performativity and graphic design.
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.
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?
Keywords: Performance, Graphic Design, Performativity, Embodiment, Phenomenology, Spatial-Movement-Time Qualities, Processual Creation, Transdisciplinarity
What moves you, Joana? Thesis intention
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.
Movement. What else? (the illusion of having static elements.)
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.
1. personal and experimental (design and performance)
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. An inter-disciplinary approach, knowledge sharing. "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
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.
2. embodiment / consciousness / awareness - ideology (phenomenology)
Performing, or simply moving the body, allows to articulate ideas in action, to set them in motion. There is a higher sense of oneself, and of one's responsibility. 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. ‘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
3. relevant (speculative realism / accelerationism / anthropocene / extreme capitalism) - ethics
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. 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.
In different disciplines, motion has been the main character for developing theories around the most intrinsic questions of humanity. The same elements of time and movement matter more prominently in performance than in other traditional forms of art.
Practical steps
Method
1. An Inventory. - gathering examples of the methods and tools used for composition matters in graphic designing and performance. This includes choreographic scores, scripts, programming languages, and software. I also believe that focusing on free and open source software will allow me to better grasp the implications of these tools and processes.
Here is the link: http://pzwart1.wdka.hro.nl/~jo/inventory/
Both Design and Performance rely on decisions of how to organize and distribute elements in space, how these elements relate to each other and how they inherently set a specific rhythm and flow, which is then perceived in the moment which is perceiver, or accessed.
In Graphic Design I so far collected examples of grid-system and typographic systems, from around the 1950s, time in which cleanliness, readability and objectivity was highly emphasized up until today, moment when vectors took this principals to algorithms. This way I embrace both print and digital technologies and methodologies.
On the performance side, my research and material collection 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. The choreographic scores developed by these different performers to communicate movement, use an extensive use of language as - graphic / numeric / alphabetic complex system.
I have been examining the field of performance art and post modernism dance, and current graphic design methods and tools, but I would like to extend this research to earlier typographic tools and graphic design craftsmanship, as well as ancient dance practices and rituals. I find extremely interesting to analyze and compare both methods and the languages used or developed for both purposes in extremely distinguish moments in time.
2. Analysis and Experimentation. - The material being collected will help me understand how to draw a parallel between this different methodologies, what performative strategies could influence design? and how?
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Thinking while Moving while Thinking
A practical study case: the workshop "Up pen Down" organized by Open Source Publishing- OSP in collaboration with the choreographer Adva Zakai, in Brussels. An experiment on "linking typography and performance", an interplay between forms of action and forms of typeface, and how both develop a dialogue between both.
(a more detailed introduction to workshop can be found here: https://pzwiki.wdka.nl/mediadesign/OSPworkshop)
In brief, starting with investigating different ways of drawing typography, particularly at algorithms based on vector drawings, we then developed a series of experiments on how the same concept could then be applied when using body movements to draw typography in space.
CODE < > DECODE
ALL IS LINES AND CURVES, but because the coordenation of visual elements in the two-dimensional digital realm is different from the one in the third-dimensional physical space, the code systems to be used also had to be re-thought. The principle of defining points in space and a path following them, was apparently very similar in both circumstances. Although the fact that the units differed, now being body measurements, made the rules vary substantially. This experiment was overall extremely successful and most people could communicate their "type design systems" to each others. It was a great opportunity to transverse the experimental terrain between space and form, that allowed to look at graphic technology in unconventional ways.
Breathing as code system - one of my interventions was based on the idea of having an internal unit (heart bits) that define our ability to perform. This way, for every breath I would take, a movement would follow.
After the workshop it was clear to me that it is not about finding a direct translation from design to performance, or digital to physical as a "mimetic" exercise. Instead, to understand and take advantage of the physical limitations and potentialities of one space, the other or even both.
By looking at how different design decisions, in both digital and physical spaces produce time and affect people's movement as well as 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? To continue finding common units, I listed questions for both practices and variables to explore:
Composition and Movement Qualities
Q. The question of composition (mapping/ placing - accessibilitiy- the legibility of the built environment) and how this elements set rythm in space?
Q. How to approach mobility/stability, and tension in between? ANTI- performance? negative of performance (stop/pause).
Q. The question of 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.
Participation
Q. The question of individual/collective experience.
Q. And the question of active/passive (participation questions: http://www.veralistcenter.org/art-and-social-justice/conflict/12/audience-participation-spectatorship-modes-of-address/), followed by the role of author/spectator or writer/ reader? ( following the method of coding <> decoding )
Improvisation
Q. The question of determinism / chance and randomness (to give room for the unexpected, where anything can potentially happen).
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-modernist performative approach. For better contextualizing the role of technology in contemporary culture and how it relates to physicality I would like virtual space/ cyborg theories, to contact experts and practicioners on areas - as such as multimedia performance, human space perception, computational creativity and software studies.
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)
Relation to ongoing/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.
the original link to the project: https://pzwiki.wdka.nl/mediadesign/Final_-_assignment
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.
more from the project, here: https://pzwiki.wdka.nl/mediadesign/PHOTOBOOK//_finale
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.
the documentation of the project here: https://pzwiki.wdka.nl/mediadesign/Final_Presentation_V2
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.
web - experiences that makes more tangible the notion of time:
http://pzwart1.wdka.hro.nl/~jo/notebook/web_exp/one/loationmouse.html
http://pzwart1.wdka.hro.nl/~jo/notebook/web_exp/two/linedown.html
Summer School at Bauhaus: https://pzwiki.wdka.nl/mediadesign/Bauhaus_SummerSchool
Relation to a larger context
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.
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.
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).
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".
In the Arts field, I have been looking at the performative turn, particularly to fluxus group and the "instructions" avant gard movement, happenings, Art & Language collective, conceptual art, neo-concrete and lettrism, video and installation art from the 70's until now, as well as performance art, including choreography and 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.
In dance and choreography, I am mostly researching on post-modern dance, which is a 20th century concert dance form, a reaction to the compositional and presentation constraints of classic and modern dance. Various choreographers and performers developed techniques tied to philosophies in how to move and perform, being Martha Graham's fundamental use of body, exploring basic movements such as walking and breathing or Yvonne Rainer minimal approach to the expression of movement and effort. Different references and choreographic methods in performance, allow for deeper understanding of the potentiality of movement qualities.
A list of references
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://contemporarydance-db.blogspot.nl (historical references/ dance archive)
http://www.disjointedarts.com/home_xo/ressssssearches (postchoreography ?)
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
http://www.choreo-graphic-figures.net
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 https://www.youtube.com/watch?v=e2diNM6EAc0 - impact.
Dancers/ Choreographers:
Yvonne Rainer: http://www.getty.edu/research/exhibitions_events/exhibitions/rainer/index.html
Trisha Brown: http://www.trishabrowncompany.org/?section=72
Simone Forti:
Merce Cunningham: http://dancecapsules.mercecunningham.org/?8080ed
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)
Anne Teresa de Keersmaeker, Rosas danst Rosas - Le vocabulaire du deuxième mouvement: https://www.youtube.com/watch?v=clNjBM3QVbY
Pinna Bausch: http://www.pinabausch.org/en/archive
Tino Sehgal at Tate Modern : https://vimeo.com/54314537
Sasha Waltz: http://www.sashawaltz.de/en/productions/
JUDITH SENG http://www.judithseng.de/projects/acting-things-iv/
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Performance Art: Life of the Archive and Topicality.
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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 http://www.werkplaatstypografie.org http://www.typeradio.org
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ART MOVEMENTS
https://en.wikipedia.org/wiki/Lettrism (time-based media works < check ) http://www.walkerart.org/collections/publications/performativity/ http://www.e-flux.com/projects/do_it/manuals/0_manual.html
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/ http://www.stuartbrisley.com/section/27/Works
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 Maxine Sheets-Johnstone: The Primacy of Movement at https://www.academia.edu/5207361/Maxine_Sheets-Johnstone_The_Primacy_of_Movement
http://www.ubu.com/historical/gb/brecht_chance.pdf
"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
https://pzwiki.wdka.nl/mediadesign/OSPworkshop
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.
?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 http://www.lugemik.ee/en/book/assign-arrange-methodologies-of-presentation-in-art-and-dance-2 http://www.lugemik.ee/en/book/space-as-membrane http://www.amazon.com/Handbook-Motion-Simone-Forti/dp/0919616038
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...)