DANCE REVIEW - Loud Tables, but Not a Restaurant The mighty roar of 20 metal tables dragged across the floor is heard not throughout the land but at the Brooklyn Academy of Music, where William Forsythe's splendid dancers in Ballett Frankfurt are staging the grandest of all finales this week. As the dancers race to the rear of the stage, pulling five rows of tables whose legs scrape and bounce on a flat surface, the program ends with a high-decibel screech. The sound of this visualized adrenaline rush is both exhilarating and ambiguous: part earthquake, part industrial noise, part joyous release.
Res, a matter. Following our previous study on biophysical and spatial sensing, we narrowed down the focus of our research, and constrained a new study to MMI with 2 biosignals only. Namely, we focused on mechanomyogram (MMG) and electromyogram (EMG) from arm muscle gesture. Although there exists research in New Interfaces for Musical Expression (NIME) focused on each of the signals, to the best of our knowledge, the combination of the two has not been investigated in this field. SynchronousObjects Blog Below we profile three final projects created in Professor Stephen Turk’s second year undergraduate installation class conducted during spring 2009 at the Knowlton School of Architecture at the Ohio State University. This studio deals with material fabrication, notation and fundamental representational skills. The images are from the students’ preliminary results from their research analysis and design investigations and the final installation in the Knowlton School of Architecture. 1. THE SCREEN MACHINE: Project team: Ross Hamilton, Heather Brandenburg, Sarah Simeon, Minyoung Kim.
William Forsythe Choreographic Objects: Biography has been active in the field of choreography for over 45 years. His work is acknowledged for reorienting the practice of ballet from its identification with classical repertoire to a dynamic 21st century art form. Forsythe's deep interest in the fundamental principles of organization has led him to produce a wide range of projects including Installations, Films, and Web based knowledge creation.
Hiroaki Umeda Hiroaki Umeda is a pluridisciplinary artist : choreographer, dancer, sound, image and lighting designer. His work is both minimal and radical, subtle and violent, and is created to be “experienced”. He is now recognized more as a visual artist rather than a choreographer, a mover rather than a dancer. MotionBank and Other Choreographic Media Tools Workshop@ HZT Berlin In this workshop several choreographic media tools will be introduced and worked with. Among those are digital publications of recent years: Steve Paxton: Material for the Spine (DVD-rom, 2008)Anne Teresa de Keersmaeker/ Rosas: A Choreographer's Score (4 DVDs, 2012)William Forsythe: Synchronous Objects (web-based, 2009)Motion Bank -scores by Deborah Hay,Jonathan Burrows and Matteo Fargion The Siobhan Davies Archive project (web-based, 2007)meta-academy@bates 2013 on the work of Nancy Stark Smith The contents of these digital dance and choreography tools all have their origin in the choreographic and dance practice.How can these ideas/ contents be transferred back into the studio and how can individual questions and interests be formulated towards these propositions? After short introductions during the first days, the focus will be on a practice lead exploration of these tools. See this visualisation the evolution of the content and resources:
One Flat Thing, Reproduced - Pacific Northwest Ballet Music: Thom Willems (2000)Choreography: William ForsytheStaging: Ayman Harper, Jill Johnson, and Richard SiegalScenic and Lighting Design: William ForsytheCostume Design: Stephen GallowayDuration: 17 minutesPremiere: February 2, 2000; Ballett FrankfurtPacific Northwest Ballet Premiere: March 13, 2008 The 2008 PNB premiere of William Forsythe’s One Flat Thing, reproduced was generously underwritten by Jeffrey & Susan Brotman. PNB Company dancers in One Flat Thing, Reproduced.Photo © Angela Sterling The New Aesthetic A GLIMPSE into the future of retailing is available in a smallish office in Hamburg. From there, Otto, a German e-commerce merchant, is using artificial intelligence (AI) to improve its activities. The firm is already deploying the technology to make decisions at a scale, speed and accuracy that surpass the capabilities of its human employees.Big data and “machine learning” have been used in retailing for years, notably by Amazon, an e-commerce giant. The idea is to collect and analyse quantities of information to understand consumer tastes, recommend products to people and personalise websites for customers. Otto’s work stands out because it is already automating business decisions that go beyond customer management.
digital networks as medium for embodied knowledge dance-tech project explores the potential of the new Internet technologies for knowledge production and distribution on body based artistic practices and it's intersections with other disciplines such as new media, architecture, philosophy, anthropology and more. All dance-tech projects attempt to place situated embodiment as a fundamental condition and movement arts as relevant practices to contemporaneity with interdisciplinary framework. dance-tech is conceived as a tactical media project and it aims to develop and maintain a series of online and hybrid collaborative platforms for the interdisciplinary explorers of the performance of movement, innovators and emergent performance practices.
William Forsythe – One flat thing reproduced…. “A choreographic object is not a substitute for the body, but rather an alternative site for the understanding of potential instigation and organization of action to reside. Ideally, choreographic ideas in this form would draw an attentive, diverse readership that would eventually understand and, hopefully, champion the innumerable manifestations, old and new, of choreographic thinking.” William Forsythe on Choreographic Objects (Essay) One Flat Thing, reproduced (2006) a film by Thierry De Mey Choreography by William Forsythe Tango "Thirty-six characters from different stages of life - representations of different times - interact in one room, moving in loops, observed by a static camera. I had to draw and paint about 16.000 cell-mattes, and make several hundred thousand exposures on an optical printer. It took a full seven months, sixteen hours per day, to make the piece. The miracle is that the negative got through the process with only minor damage, and I made less than one hundred mathematical mistakes out of several hundred thousand possibilities. In the final result, there are plenty of flaws ® black lines are visible around humans, jitters caused by the instability of film material resulting from film perforation and elasticity of celluloid, changes of colour caused by the fluctuation in colour temperature of the projector bulb and, inevitably, dirt, grain and scratches.”
Lawrence Lessig Lawrence "Larry" Lessig (born June 3, 1961) is an American academic and political activist. He is a proponent of reduced legal restrictions on copyright, trademark, and radio frequency spectrum, particularly in technology applications, and he has called for state-based activism to promote substantive reform of government with a Second Constitutional Convention. In May 2014, he launched a crowd-funded political action committee which he termed Mayday PAC with the purpose of electing candidates to Congress who would pass campaign finance reform. Lessig is director of the Edmond J. Safra Center for Ethics at Harvard University and a professor of law at Harvard Law School. One Flat Thing, reproduced (2006) a film by Thierry De Mey Video Still from One Flat Thing, reproduced “A choreographic object is not a substitute for the body, but rather an alternative site for the understanding of potential instigation and organization of action to reside. Ideally, choreographic ideas in this form would draw an attentive,diverse readership that would eventually understand and, hopefully, champion theinnumerable manifestations, old and new, of choreographic thinking.”William Forsythe on Choreographic Objects (Essay) One Flat Thing, reproduced (2006) a film by Thierry De Mey Choreography by William Forsythe