-----Original Message----- From: Johannes Birringer Sent: 13 May 2009 19:24 To: empyre@lists.cofa.unsw.edu.au Subject: critical motion nowhere and everywhere at some time
hello all: thanks Norah for drawing attention to a question that perhaps might like to see itself addressed in this month's discussion, namely what would constitute "critical motion" and what such a term or concept implies for us here, to address, and why. Your brief reference to work (and dissemination of research) which, admittedly, I was able to experience first-hand (and i am thus partial) in London during the recent Forsythe festival, was refreshing in its questions... can you say more about "counterpoint"? (I love Forsythe's worktitles: "Nowhere and Everywhere at the Same Time")....... <<<< Norah Zuniga Shaw wrote: The interactive moving animations reflect on, work on, re-invent the choreographic structures in a dance. They were generated at the intersection of choreography, animation art, geography, architecture, theory (maybe) and even I suppose a form of activism in that they are reaching out to invite folks in to the dance and into some ways that we see patterns in complexity. Are they a technological approach to movement? A critical one? They are a mix of analytical and creative. They seek to generate new creativity while representing a form of it (namely counterpoint in William Forsythe's One Flat Thing Reproduced). They seek to invite a certain kind of "dance readership." Counterpoint itself suggests some pretty radical ideas about ways to relate and find agreement in motion that don't require unison (or unity). The work is created in a complex community of practice that requires both interdisciplinary and multidisciplinary practices for creation... >>> I was in a production workshop over the last 10 days and am barely able to shift energies now from physical work and computing/editing and designing to the reading of such a highly complex and philosophical debate that we have had here. I could not read the debate in a linear way, as it began, with Stamatia and Ashkey lighting out, and Erin following. Then i got to a point where i did not want to read further. Did anyone else have this sensation? The discourse, I began so sense, was becoming less than particpatory, but i could be wrong. ?? I am sorry if I misunderstood. What readership, Norah, was invited, in your work? with many regards Johannes Johannes Birringer artistic director, DAP Lab School of Arts Brunel University West London UB8 3PH UK http://www.brunel.ac.uk/dap http://www.danssansjoux.org _______________________________________________ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
