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.
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.
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 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 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
Algorithm Flow chart of an algorithm (Euclid's algorithm) for calculating the greatest common divisor (g.c.d.) of two numbers a and b in locations named A and B. The algorithm proceeds by successive subtractions in two loops: IF the test B ≥ A yields "yes" (or true) (more accurately the numberb in location B is greater than or equal to the numbera in location A) THEN, the algorithm specifies B ← B − A (meaning the number b − a replaces the old b). Similarly, IF A > B, THEN A ← A − B. The process terminates when (the contents of) B is 0, yielding the g.c.d. in A. (Algorithm derived from Scott 2009:13; symbols and drawing style from Tausworthe 1977). In mathematics and computer science, an algorithm (
Ballet Frankfurt One Flat Thing, reproduced (2000) BALLET FRANKFURT The Room as it Was Duo (N.N.N.N.) One Flat Thing, reproduced Oct 5, 2003 / Brooklyn Academy of Music / New York City Review by EDWARD LUNA In the US, the dances created by William Forsythe and his Ballet Frankfurt are known primarily for their contorted, geometric, and formal qualities. This is contemporary European dance at its most obtuse and abstract; with harsh, minimalist lighting, electronic music scores, rail-thin dancers, and frequent use of text. Such experimentalism often receives a rather cool reception here, where dance audiences are more accustomed to the lyrical/musical style of Mark Morris, or the pastiched African-Americana of Bill T. Jones. Interview with Scott deLahunta, part 1: On working processes and digital realms My next interview from the series of Cognitive of the Performative programme by Centre for Drama Art aka cdu was made during the Workshop with Choreographic Objects that I attended in December, guided by Scott deLahunta. Scott deLahunta is a former dancer and choreographer, who began working in the mid-1990s as a researcher and coordinator for projects bringing together new media and live performance practices. For years he’s been advocating for creating software tools for choreographers from the environment of emerging new technologies. Photo above: Scott deLahunta, photo taken from Random Dance Company (c) Photo bellow: Synchronous Objects Project, The Ohio State University and The Forsythe Company (c)
William Forsythe interview Lithe and active though he is, Forsythe is 60 this year, enjoying being a grandfather. Some members of his company are new recruits, and some have moved with him from Ballet Frankfurt to his current, smaller set-up. "I really like my performers," he says. "It's more like a family." As they work together, he asks new questions, seeks new answers.